Very few consumer A/V brands reach a century in operation. Luxman has already passed that mark, and the D-100 SACD/CD Player and L-100 Integrated Amplifier are not presented as anniversary products, but as current production models that define the company’s direction going forward.
With these components, Luxman is positioning itself clearly within the high-end segment. Rather than competing on volume or feature density like Denon or Yamaha, Luxman continues to operate in a smaller category alongside manufacturers such as McIntosh, Pass Labs, and Mark Levinson. The emphasis is on long term ownership, conservative engineering, and product lifespans measured in years rather than release cycles.
Integrated amplifiers have been part of Luxman’s core lineup since the 1960s, and the L-100 CENTENNIAL Integrated Amplifier makes that continuity explicit. The recent wave of new products is not driven by short update cycles or marketing pressure, but by development timelines extended during the pandemic.
Luxman has always felt aspirational in the best possible way. The gear is built to an exceptionally high standard, it sounds better than 98 percent of what is out there, and it manages to do so without requiring the sale of a child or a second mortgage. This is not part of the new wave of affordable high end audio and no one is pretending otherwise. The D-100 and L-100 are eye watering in terms of price, but they would land on any serious endgame short list without hesitation. Luxman lasts. It has soul. And yes, it still has VU meters that look unapologetically sexy because great engineering should never be afraid to look the part.
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L-100 Integrated Amplifier Defines Luxman’s Vision for Its Second Century
Luxman L-100 Centennial
The Luxman L-100 Integrated Amplifier sits at the center of the company’s 100 Centennial Series and makes its priorities clear immediately. Rated at 20 watts per channel into 8 ohms and 40 watts into 4 ohms, the numbers are modest on paper and entirely deliberate in execution. This is a pure Class A integrated amplifier, not Class A/B and certainly not Class D. Every watt is delivered in continuous Class A operation, with the output devices conducting at all times. That choice favors linearity and tonal density over headline power, and it comes with the usual side effect. Yes, the amplifier runs warm. That is the cost of admission. JCP&L will be thrilled. Your accountant? Not so much.
The output stage uses a triple parallel bipolar push pull configuration supported by a substantial power supply built around a custom EI core transformer and eight large filter capacitors totaling 80,000 microfarads. This foundation provides the current stability required for Class A operation and helps explain the L-100’s damping factor of 300, which is unusually high for a low power Class A design. Luxman has focused on maintaining control and composure rather than chasing wattage for its own sake.
At the circuit level, the L-100 employs version 1.1 of Luxman’s LIFES architecture, an evolution of the company’s long running Only Distortion Negative Feedback concept first introduced in 1999. Instead of applying global feedback indiscriminately, LIFES concentrates on detecting and correcting distortion components only.
By using multiple field effect transistors in parallel at the input of the error detection circuit, Luxman aims to reduce distortion and improve linearity while preserving the tonal weight and harmonic structure the brand is known for. The result is extremely low measured distortion without the flattened dynamics often associated with heavy feedback designs.
Volume control is handled by the LECUA1000 attenuator, an 88 step electronically controlled system integrated directly into the amplifier circuitry. Shortened signal paths and discrete buffer stages derived from Luxman’s flagship preamplifiers are used to minimize degradation and maintain drive capability.
Connectivity is comprehensive and practical, with balanced and unbalanced line inputs, a high quality MM/MC phono stage, pre out and main in connections, dual speaker terminals for bi-wiring, and both 6.3 mm and 4.4 mm headphone outputs. The balanced headphone output uses independent grounds for left and right channels to improve separation and imaging.
Measured performance is consistent with Luxman’s design goals. Total harmonic distortion is specified at 0.005 percent or less at 1 kHz into 8 ohms, rising modestly to 0.015 percent across the full audio band. Frequency response extends from 20 Hz to 100 kHz on line inputs, while signal to noise ratios reach 98 dB for line level sources. Power consumption is substantial at 260 watts under operation, which again comes with the territory when running true Class A.
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Physically, the L-100 weighs 25.4kg (56 lbs) and looks exactly like what it is. A serious integrated amplifier built to last. The illuminated VU meters, brushed aluminum front panel, and restrained proportions are unmistakably Luxman, but the execution is modern rather than nostalgic. Meter illumination and the central LED volume display can be switched off if desired, though few owners are likely to do so.
The L-100 is not chasing trends, efficiency charts, or lifestyle friendly form factors. It is a deliberately uncompromising Class A integrated amplifier that prioritizes operating purity, long term ownership, and musical density over convenience. It will get warm. It will not be cheap. And it sounds like Luxman doing exactly what Luxman has always done best. If that does not move the needle for you, this was never your amplifier anyway.
D-100 SACD CD Player Reminds the Streaming Crowd Why Discs Still Matter
The Luxman D-100 SACD/CD Player serves as the digital counterpoint to the L-100 integrated amplifier and replaces the long-running D-10X. This is not a light refresh or a cosmetic update. Luxman has rebuilt its disc playback platform from the ground up, making it clear that optical media remains a core part of its second century rather than a legacy side project.
At the heart of the redesign is Luxman’s proprietary LxDTM-i disc transport, short for Disc Transport Mechanism improved. The mechanism is fully integrated into the main chassis and reinforced with thick aluminum side frames, a steel top plate, and an aluminum base to improve rigidity and suppress vibration. Mechanical stability remains a defining Luxman priority and the D-100 doubles down on that philosophy with cast-iron isolation feet.
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Digital conversion is handled by ROHM BD34302EKV DACs in a true dual-mono configuration. File playback support is extensive, with PCM up to 768 kHz at 32-bit and DSD up to 22.5 MHz via USB, alongside native SACD and CD playback. Luxman has also focused heavily on clocking and noise management, employing a large quartz oscillator and ultra-low phase-noise circuitry to stabilize timing across both disc and file-based playback paths. Assuming it follows the same functional model as the D-10X, the D-100 can also operate as an external DAC for a high-end streamer.
The analog output stage mirrors the amplifier’s approach, using the latest LIFES 1.1 circuit in a fully balanced configuration feeding both RCA and XLR outputs. A large monochrome OLED display replaces the fluorescent panel used on earlier Luxman players, modernizing usability without turning the front panel into a glowing tablet. Luxman has not yet confirmed whether coaxial or optical digital outputs will be included as they were on the outgoing model, and the company has remained quiet on several secondary specifications.
Physically, the D-100 is very similar in size and mass to the D-10X, but weighs 3kg (6.6 lbs) more at nearly 50 lbs. The D-100 measures 440mm (17.3″) wide by 154mm (6.1″) high by 420mm (16.5″) deep.
The D-100 exists because Luxman believes physical media still deserves reference-level hardware. It is unapologetically heavy, mechanically serious, and engineered for listeners who still care about discs and are willing to pay for the privilege. Streaming may be convenient. Luxman is clearly arguing that convenience is not the same thing as satisfaction.
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The Bottom Line
Luxman’s D-100 and L-100 are not casual upgrades, they are statement pieces built for listeners who still care about engineering, longevity, and physical media. The L-100 is a pure Class A integrated that prioritizes operating purity over bragging rights, pairing Luxman’s LIFES 1.1 feedback architecture with the LECUA1000 88 step attenuator, a serious power supply, and full featured connectivity including balanced inputs and MM MC phono.
The D-100 is its matching digital counterweight, a ground up disc platform with the LxDTM-i transport, dual mono ROHM conversion, fully balanced analog output using LIFES 1.1, and the kind of mechanical overbuild that makes most modern disc players feel like toys.
Who is this for. The buyer who wants an endgame two box front end, values build quality and service life, and still spins discs while using a streamer as a transport when it suits the mood. Not for bargain hunters, not for minimalists, and definitely not for anyone who thinks a phone and a soundbar counts as a system.
Price & Availability
The products will begin shipping in North America in late May or June 2026, with their first public showing expected at AXPONA in April.
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North American retail pricing is set at $11,995 for the L-100 and $18,995 for the D-100. Nothing about this pairing suggests affordable. It suggests buy it once, keep it for 20 years, and stop shopping.
The bike also has a front fork with 80 millimeters of suspension, so accidentally piloting all 60 pounds of it into a pothole won’t pitch you head over heels. It’s fully loaded, with integrated lights, fenders, and a kickstand. And finally, the Vida E+ is UL-certified, so it won’t catch on fire while charging in your garage. The RideControl app lets you check your bike’s electronic systems for problems, lock your bike, and, if you have a bike mount, use it for rudimentary navigation.
Quality Components
Riding the Vida E+ feels like riding a couch, but in a good way. This is a bike that will do everything for you, without your having to think about it very much (unless you’re trying to maneuver it between two cars in your driveway). The step-through frame makes it easy to get on or off. The sit-up geometry and ergonomic handlebars are incredibly comfortable; I can ride with one hand, slowly pedaling at 9 mph while biking my kids home from school, and they blabber on about whatever.
Photograph: Adrienne So
Because this is a bike made by Giant, the components are very nice, for a reasonable price. I can easily read the display in high-glare natural sunlight. The fork is made by Suntour; while I would definitely not take this bike on trails, I hit many potholes, both on purpose and not, without dumping myself. The brakes are high-performance Tektro four-piston hydraulic disc brakes, which is also a little unusual at the price point. You don’t have to worry about being able to make quick stops on hills or with a heavy load.
The Shimano shifters work well with the SyncDrive motor to climb steep hills. I did find that the buttons are not terribly easy to push, and I also tended to mix up the headlight and power buttons at the top, which my kids find annoying when they’ve taken off and I’m still struggling to get a 60-pound bike moving without assistance.
The new 25th Anniversary Vinylphyle restoration of Erykah Badu’s chart-toping 2000 album Mama’s Gun is an excellent reissue which should be of interest to fans of vocal jazz and modern soul sounds as well as analog loving audiophiles.
A platinum seller with three hit singles including her first top 10, this is a super chill, fluid grooving and melodic song cycle often categorized as “neo-soul” and bridging pop, soul, funk, jazz, hip hop and even singer-songwriter pop. While I’ve read numerous references to Billie Holiday in discussing Ms. Badu’s vocal style, I also hear strong Dinah Washington flavors by way of Minnie Ripperton and Chaka Kahn (which are some pretty great touchstones as well).
As with other Vinylphyle releases in this top-notch new series from Universal Music, Mama’s Gun was pressed at RTI — renown as one of the best vinyl manufacturing facilities in the world. The 180-gram vinyl is dark and well centered. The production quality elements throughout are also outstanding, the album cover is made of heavy cardboard stock akin to a vintage jazz album from 1960s on Verve or Blue Note. Each disc comes housed in an audiophile-grade plastic lined inner-sleeve.
From Universal’s udiscovermusic website we’ve also gleaned some additional information which reveals that this release is more than “just” a reissue but a genuine restoration of note for fans seeking the best quality version of a favorite album.
There we learn:
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“There are no sequenced analog masters for Mama’s Gun. The original 44.1kHz/16-bit files, with the original CD mastering and limiting, have been the only source for all digital and vinyl reissues—until now. The record was reassembled and rebuilt digitally from 14 individual track tapes, newly transferred in 96kHz/24-bit, in order to create the first true remaster of this record since it came out 25 years ago.”
In the new liner notes for the album Ms. Badu adds insights into her passion for analog at the crossroads of digital: “With this remastering, we’ve carefully blended analog warmth with digital precision. It’s breathtaking to hear the subtleties of each layer come alive in a new way, making the project resonate even more powerfully.”
Indeed, what a lush round sound Mama’s Gun delivers! Largely played by live musicians in top studios including New York’s iconic Electric Lady (which was created by Jimi Hendrix), no less than The Roots’ Questlove is featured on drums on many of the tracks.
It is haunting hearing “In Love with You” which features vocal contributions from Stephen Marley — Bob Marley’s second son — supported mostly by lovely softly strummed nylon string acoustic guitar. Ms. Badu’s hit “Bag Lady” (#6 Billboard Top 100) was co-written with soul legend Issac Hayes and received two Grammy nominations that year. “Cleva” — which features Roy Ayers on Vibraphone, feels almost like a lost Stevie Wonder tune.
if you ever liked early Meshell Ndegeocello albums like her 1999 masterwork Bitter or even newer artists like New Orleans’ Tank & The Bangas, you might well enjoy Mama’s Gun. Highly recommended.
Universal’s Vinylphyle series 2LP release of Erykah Badu’s Mama’s Gun is currently exclusively available via udiscovermusic for $54.98.
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Mark Smotroff is a deep music enthusiast / collector who has also worked in entertainment oriented marketing communications for decades supporting the likes of DTS, Sega and many others. He reviews vinyl for Analog Planet and has written for Audiophile Review, Sound+Vision, Mix, EQ, etc. You can learn more about him at LinkedIn.
Are pickup truck engines the same as those used in normal passenger or sports cars? The answer is both yes and no. Physically, at least, there’s usually little that separates an engine in a truck’s engine bay from one in a car’s. After all, there have been plenty of times in the industry’s history when automakers have sold cars and trucks with nearly identical engines. Case in point, the legendary Chrysler slant-six engine, which came in everything from compact cars to pickup trucks and vans.
But in the modern era, especially, there can be notable differences between car and truck engines, even if their displacement and general engine architecture are the same. The modern HEMI V8 used in Dodge muscle cars and Ram pickups is a good example of this, with different versions of the same engines used in performance cars and pickups. Most of the differences between truck and car engines involve how and when the engines deliver their horsepower and torque.
A car engine may produce more peak horsepower than an equivalent truck engine, but the truck engine will often provide more torque or deliver the same amount of torque at lower revs. Just how much difference there is between the two will vary by automaker, and some brands, like Ford, offer V8 engines designed from the ground up for trucks that share nothing with their car counterparts.
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The different flavors of V8s
Jetcityimage/Getty Images
Ultimately, the main difference between car and truck engines is rooted in the difference between horsepower and torque. While horsepower matters in a truck, when it comes to pulling a trailer or carrying a heavy load, it’s the torque that’s important — and the lower in an engine’s powerband that torque comes, the better it is. Thus, the popularity of ultra-torquey, but relatively low-horsepower turbodiesel engines for large pickups. Peak horsepower, meanwhile, takes prominence in a sports car where engine speeds are higher.
Even within the same V8 family, there can be notable differences in car and truck engines. In GM’s V8 lineup, the 401-hp 6.6-liter L8T truck engine is designed for low-speed torque, with 464 lb-ft of torque at 4,000 RPM. The Chevrolet Corvette’s smaller, 495-hp 6.2-liter LT2 V8 is part of the same family and easily bests the L8T in peak horsepower, yet it barely edges the L8T in torque. It also needs to rev much higher to generate its torque, with its 470 lb-ft coming at 5,150 rpm.
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Ford’s Super Duty 7.3-liter Godzilla V8 takes this concept even further. Not only is the Godzilla much larger than the 5.0 Coyote V8 in the Mustang GT, but it also uses an entirely different design with an overhead-valve, single-camshaft design compared to the 5.0’s dual overhead cams and 32 valves. At 480 hp, the 5.0 beats out the 430-horsepower Godzilla, but the 7.3 takes the torque crown, with 475 pound-feet to the Mustang’s 415 lb-ft.
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The curious case of the Nissan 240SX
betto rodrigues/Shutterstock
So what happens, then, if you put a pickup truck engine into a sports car? Look no further than the North American-market Nissan 240SX from the 1990s. When the S13 Nissan Silvia and 180SX debuted in the Japanese home market, the cars were available with high-horsepower turbocharged four-cylinder engines — first the 1.8-liter CA18DET and later the legendary SR20DET. This, combined with a great chassis and tons of aftermarket support, helped the S13 become a smash hit among enthusiasts.
However, when it came time to export the car to America, Nissan decided to forgo the turbo engines in favor of the naturally aspirated 2.4-liter KA24 engine used in Nissan pickup trucks. Though the USDM engine was larger than its JDM counterpart and produced a decent amount of torque for its size, the KA24 only made 140 hp and, more importantly, lacked the high-revving sports car feel many expected from the 240SX.
Fortunately, the SR20DET was an easy swap, and Nissan’s decision to go with a truck engine didn’t entirely detract from the many features that helped the 240SX become a legendary drift car in the years and decades that followed. Even then, though, one can’t help but wonder what would’ve happened had Nissan given the U.S. market 240SX the turbocharged performance engine it deserved.
ZipNada writes: Two software researchers recently demonstrated how modern AI tools can reproduce entire open-source projects, creating proprietary versions that appear both functional and legally distinct. The partly-satirical demonstration shows how quickly artificial intelligence can blur long-standing boundaries between coding innovation, copyright law, and the open-source principles that underpin much of the modern internet.
In their presentation, Dylan Ayrey, founder of Truffle Security, and Mike Nolan, a software architect with the UN Development Program, introduced a tool they call malus.sh. For a small fee, the service can “recreate any open-source project,” generating what its website describes as “legally distinct code with corporate-friendly licensing. No attribution. No copyleft. No problems.” It’s a test case in how intellectual property law — still rooted in 19th-century precedent — collides with 21st-century automation. Since the US Supreme Court’s Baker v. Selden ruling, copyright has been understood to guard expression, not ideas.
That boundary gave rise to clean-room design, a method by which engineers reverse-engineer systems without accessing the original source code. Phoenix Technologies famously used the technique to build its version of the PC BIOS during the 1980s. Ayrey and Nolan’s experiment shows how AI can perform a clean-room process in minutes rather than months. But faster doesn’t necessarily mean fair. Traditional clean-room efforts required human teams to document and replicate functionality — a process that demanded both legal oversight and significant labor. By contrast, an AI-mediated “clean room” can be invoked through a few prompts, raising questions about whether such replication still counts as fair use or independent creation.
Intel said the agreement is reflective of a strong partnership with Apollo, as well as the organisation’s role in the age of AI.
US technology company Intel has plans to repurchase a 49pc stake of the Leixlip, Kildare Fab 34 manufacturing facility, via a partnership with asset manager Apollo Global Management. The deal which will be valued at $14.2bn is expected to be funded through cash on hand and proceeds from the issuance of new debt of approximately $6.5 bn.
With work beginning in 2019, Fab 34 was designed to be an advanced semiconductor manufacturing facility.
There has been significant investment in the plant over the years with the organisation hitting several important milestones and currently it is a fabrication facility for products utilising the Intel 4 and Intel 3 process technologies, for example Intel Core Ultra and Intel Xeon 6 processors.
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In 2024, it was decided that Intel would sell a 49pc stake in Fab 34 to Apollo Global Management.
At the time, David Zinsner, the chief financial officer at Intel, said that the $11bn deal would give the chip maker the “additional flexibility to execute our strategy as we invest to create the world’s most resilient and sustainable semiconductor supply chain”. Intel also said it would be retaining full ownership and control of Fab 34 and its assets.
Commenting on the recent announcement Zinsner said, “Our 2024 agreement was the right structure at the right time and provided Intel with meaningful flexibility, enabling us to accelerate critical initiatives. Today, we have a stronger balance sheet, improved financial discipline and an evolved business strategy.”
Apollo Partner Jamshid Ehsani added, “Our partnership with Intel began at an important stage in the execution of its advanced manufacturing roadmap, where our long-term strategic capital played a meaningful role in accelerating the production of next-generation chip technology.
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“Flexibility and alignment are core to how we approach relationships as a long-term, solutions-oriented capital partner, and we are pleased to facilitate this transaction in support of Intel’s evolving strategic and operational priorities.”
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Samsung already has its own slim magnetic case for the Galaxy S26 Ultra, so most people won’t think twice about alternatives.
But choosing the right Samsung Galaxy S26 Ultra case isn’t always as straightforward as it seems. Some cases look great on day one but end up feeling too smooth, slightly bulky, or just awkward to use after a few days. Thinborne is still a thin magnetic case, but it takes a slightly different approach.
This review focuses on how it feels in real use, and how it compares to Samsung’s own option.
Thinborne Overview of Features
It helps to look at what Thinborne actually offers and how those features translate in real use.
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Material and Build
Thinborne uses 600D aramid fiber, which you’ll usually see in lightweight, high-strength materials. You’ll notice how it feels:
It’s very light
It feels firm rather than flexible
The surface has a subtle texture
At 0.90 mm thin, it doesn’t add much bulk. The phone still feels close to how it does without a case.
What makes it different from typical cases is the structure. It doesn’t have that soft, slightly rubbery feel you get from silicone. It’s more rigid, almost like a thin shell that snaps into place. Over time, silicone can start to feel sticky or collect dust – this doesn’t.
MagSafe Compatibility
Like most Galaxy S26 Ultra cases, Thinborne includes built-in magnets since the phone itself doesn’t have them. In everyday use, that means:
Chargers snap into place quickly
Car mounts hold steady
Wallets and stands attach cleanly
The experience is straightforward, and everything lines up as expected (and it stays in place).
One thing that helps with the setup is the case’s rigidity. Since it doesn’t flex much, the alignment stays consistent. You don’t get that slight shift you sometimes notice with softer cases.
Available Colors
Thinborne keeps the color options simple:
Black
Royal Crimson
Wild Navy
All three use the same woven finish, so the feel doesn’t change – only the color does. The tones are muted and don’t draw too much attention.
Thinborne Thin Phone Case vs Samsung Galaxy S26 Ultra Slim Magnet Case
Samsung’s Slim Magnet Case is the most direct comparison. Both cases fall into the same general category: thin, lightweight, and magnetic.
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Samsung doesn’t list an exact thickness, but it’s positioned as a slim case. What we do know is that it weighs 24 grams, making it a bit heavier than Thinborne, which weighs around 20 grams.
Here’s how they compare:
Feature
Thinborne Galaxy S26 Ultra Case
Samsung Slim Magnet Case
Weight
20 g
24 g
Thickness
0.90 mm
slim profile (not officially listed)
Material
600D aramid fiber
Synthetic/plastic
Grip
Textured (woven)
Smooth
Magnets
Built-in magnetic array
Built-in magnets
As you can see, Thinborne and Samsung look similar. In use, however, the differences can be noticed:
Grip – Thinborne has a bit more texture, so it feels more secure in your hand. Samsung’s case is smoother, which can feel slightly slippery.
Weight – The difference isn’t huge, but the lighter feel can be noticeable over time – especially on a large phone like the S26 Ultra.
Material feel – Thinborne feels more solid and structured. Samsung’s case feels more like a standard slim case.
Pricing and Availability
Thinborne and Samsung are priced almost the same, so cost isn’t really the deciding factor here.
Thinborne comes in at $69.69, while Samsung’s Slim Magnet Case is slightly higher at $69.99. The difference is minimal, and in practice, both sit in the same premium range for thin magnetic cases.
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Where they differ is availability. Thinborne is sold through its official website and is also available on Amazon, which gives you a bit more flexibility when buying. It typically includes extras like a tempered glass screen protector as well.
Samsung’s case is easier to find overall. It’s available through Samsung’s store and most major retailers, making it a more convenient option if you prefer to buy locally or through familiar channels.
At this price point, it really comes down to which case fits your preferences better, not which one is cheaper.
Wrap Up
Thinborne keeps things simple, and that’s really the point. It’s built as a thin phone case that doesn’t change how the Galaxy S26 Ultra feels in your hand. The lighter weight, subtle texture, and rigid build all come together in a way that feels easy to live with day to day.
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Samsung’s Slim Magnet Case still does what it’s supposed to. It’s reliable, widely available, and works well with magnetic accessories. But if you care about how your phone actually feels in use, Thinborne has a clear edge. The lighter weight and textured finish make it easier to hold, especially during one-handed use – something you start to notice after a few days of use.
Microsoft is investigating a known issue that prevents some Classic Outlook users from sending emails via Outlook.com.
Affected users are being warned that their message hasn’t reached some intended recipients, and they will encounter this problem more often when the Outlook.com account they use to send email is an Outlook profile linked to another Exchange account.
“This message could not be sent. Try sending the message again later or contact your network administrator,” the non-delivery report (NDR) error displayed when sending or replying to emails reads.
“You do not have the permission to send the message on behalf of the specified user. Error is [0x80070005-0x0004dc-0x000524].”
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Microsoft added that another condition that may trigger these errors is that the sender’s account has an Exchange Online mail contact with the same SMTP address.
Classic Outlook non-delivery report (NDR) error (Microsoft)
While investigating this issue and still looking for a fix, the Outlook team shared several workarounds that may help affected customers temporarily mitigate the issue.
Microsoft recommends removing the M365 account Address Book so that the Outlook client does not check it when sending emails, hiding the Outlook.com contact from the Microsoft 365 account Global Address List (GAL).
Other alternatives include creating a new classic Outlook profile that includes only the account receiving NDR errors, and using the New Outlook client or Outlook.com on the web to send email from the affected account.
Automated pentesting proves the path exists. BAS proves whether your controls stop it. Most teams run one without the other.
This whitepaper maps six validation surfaces, shows where coverage ends, and provides practitioners with three diagnostic questions for any tool evaluation.
Scientists say extreme March heat caused an unusually rapid collapse of snowpack across the American West that’s leaving major basins at record or near-record lows. “This year is on a whole other level,” said Dr Russ Schumacher, a Colorado State University climatologist. “Seeing this year so far below any of the other years we have data for is very concerning.” The Guardian reports: […] The issue is extremely widespread. Data from a branch of the US Department of Agriculture (USDA), which logs averages based on levels between 1991 and 2020, shows states across the south-west and intermountain west with eye-popping lows. The Great Basin had only 16% of average on Monday and the lower Colorado region, which includes most of Arizona and parts of Nevada, was at 10%. The Rio Grande, which covers parts of New Mexico, Texas and Colorado, was at 8%. “This year has the potential of being way worse than any of the years we have analogues for in the past,” Schumacher said.
Even with near-normal precipitation across most of the west, every major river basin across the region was grappling with snow drought when March began, according to federal analysts. Roughly 91% of stations reported below-median snow water equivalent, according to the last federal snow drought update compiled on March 8. Water managers and climate experts had been hopeful for a March miracle — a strong cold storm that could set the region on the right track. Instead, a blistering heatwave unlike any recorded for this time of year baked the region and spurred a rapid melt-off. “March is often a big month for snowstorms,” Schumacher said. “Instead of getting snow we would normally expect we got this unprecedented, way-off-the-scale warmth.”
More than 1,500 monthly high temperature records were broken in March and hundreds more tied. The event was “likely among the most statistically anomalous extreme heat events ever observed in the American south-west,” climate scientist Daniel Swain said in an analysis posted this week. “Beyond the conspicuous ‘weirdness’ of it all,” Swain added, “the most consequential impact of our record-shattering March heat will likely be the decimation of the water year 2025-26 snowpack across nearly all of the American west.” Calling the toll left by the heat “nothing short of shocking,” Swain noted that California was tied for its worst mountain snowpack value on record. While the highest elevations are still coated in white, “lower slopes are now completely bare nearly statewide.”
Studio 64 Bits worked tirelessly for four months to hand-draw every single frame, allowing them to introduce Elden Ring to the wild world of Saturday morning television in the 90s. The end effect feels like a bizarre parallel universe in which the game appears alongside Thundercats and He-Man.
Ranni is right there at the start, cradling a double-necked electric guitar slung lazily across her shoulders, and as she begins noodling on the opening chords, the camera sweeps across these blasted landscapes, full of familiar faces from both the base game and the Shadow of the Erdtree expansion. We see Malenia charging ahead with blades flashing, Blaidd standing tall and loyal by her side, and Messmer looming large as the true new threat. Meanwhile, Miquella and Radahn share a dramatic moment, and Melina, Rykard, Mohg, Varre, Midra, Placidusax, Astel, Maliketh, and the Elden Beast all flash across the screen in quick, splashy bursts. Each character receives the usual cartoon makeover, complete with bold outlines, vivid colors, and exaggerated posturing that transforms their conflicts into heroic showdowns rather than gloomy, terrible struggles.
The animation sticks to the technical limits of 90’s TV production, which means that the colors don’t deviate much from a fairly limited palette, the lines have just a hint of that creaky hand-drawn cel look to them, and the transitions snap along with the same crisp timing you’d see on shows from that era. The music builds to a precise pitch, culminating in a driving rock song that sounds like it might have come directly from the opening titles of Jayce and the Wheeled Warriors or Captain Planet. Every second creates the impression that an entire series could follow, with the Tarnished rushing across the continent to repair the Elden Ring and face off against these legendary monsters in one thrilling episode after the next.
After the main intro concludes, the film transitions to a brief commercial in which Elden Ring appears to have recently been released for the old SNES. A happy narration promises additional dungeons, secrets, and a fate that is entirely in the player’s control. The tagline reverses a humorous old Nintendo slogan into ‘Now you’re playing with power, rune power’, and the spot concludes with a quick little bumper that parodies the DIC logo from coutnless old 90’s cartoons. It connects neatly to their last full-length SNES remake, making the entire package feel like one continuous block of faux Saturday morning programming.
Smart glasses have always had a basic problem for people like me. They looked cool in demos, sounded futuristic in press releases, and usually came with the same quiet catch. If you already wear glasses every day, you are expected to work around them. This meant adding prescription lenses later, settling for a fit that is not quite right, or treating the whole thing as a novelty instead of something you would actually wear throughout the day.
This is what makes Meta’s latest announcement more exciting. The company just unveiled its first prescription-optimized AI glasses, the Ray-Ban Meta Blayzer Optics (Gen 2) and Ray-Ban Meta Scriber Optics (Gen 2), and they are explicitly designed around people who rely on prescription eyewear all day.
Meta says they support nearly all prescriptions, start at $499 in the US, and will be available at optical retailers beginning April 14.
For me, that is the first time Meta’s glasses story has felt less like wearable hype and more like something I could actually live with.
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Meta
Prescription wearers don’t have to do extra work
Billions of people around the world use glasses or contacts for vision correction, and Meta itself notes that many Ray-Ban Meta and Oakley owners already add prescription lenses to existing models. But “can be added later” is not the same thing as “built for you from the start.”
The new prescription-first push feels more thoughtful. Meta says that these new models were designed for all-day comfort and include features like overextension hinges, interchangeable nose pads, and optician-adjustable temple tips. These may sound like dry-product language stuff, but if you actually wear glasses every day, it is the kind of detail that decides whether something stays on your face for the next eight hours or if it gets thrown into a case after 20 minutes.
Balancing act between ‘gadget’ and ‘eyewear’
Meta
Meta is not just launching two new frame styles and calling it a day. It is trying to make AI glasses feel like a normal category of eyewear rather than a niche device for early adopters. These new prescription-optimized frames aren’t alone, as Meta also announced more frame and lens options across Ray-Ban Meta and Oakley Meta glasses.
There’s also a new software feature, like hands-free nutrition tracking, WhatsApp summaries and recall through Meta AI, and Neural Handwriting support expanding to iMessage. All of this makes these new glasses feel more natural for daily use. The tech itself is only half the story. The real breakthrough is when you don’t need to accommodate the hardware.
And if you already wear prescription glasses, that threshold is even higher. A smartwatch can be optional. Glasses are not.
Meta
This is the first Meta glasses move that feels genuinely practical
This is basically why I think these new Meta glasses matter more than they might look on paper. The usual wearable pitch is about features, AI tricks, cameras, and convenience. But for prescription wearers, such as myself, the first question is whether I would actually want to wear this all day instead of normal glasses?
And for a change, Meta seems to be answering that question directly.
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Yes, the concerns don’t disappear, and smart glasses still have the privacy baggage and hefty price tag. They also haven’t proved that their AI features are useful often enough to justify becoming part of your daily routine. But this launch clears a much more fundamental barrier than people give it credit for.
And for someone who already owns prescription Wayfarers and knows how much difference proper eyewear fit makes, Meta’s new AI glasses suddenly feel a lot more attractive.
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