Tech
OnePlus confirms exit from US and European markets, will replace OxygenOS with ColorOS
In a nutshell: Following months of rumors and speculation about the future of the OnePlus brand, the company has officially confirmed that it is exiting all North American and European markets effective immediately. OnePlus will no longer launch new devices in these regions but will continue providing software updates and after-sales support to existing customers.
OnePlus also assured existing users that it will honor all warranty coverage and that eligible devices will be repaired through its authorized service centers in accordance with its standard warranty and support obligations. Eligible OnePlus devices will also continue receiving Android updates and security patches under the company’s existing software support commitments.
Additionally, OnePlus announced that it will replace OxygenOS with the latest version of ColorOS, the Android skin used by its parent company, Oppo. However, the company will give users the option to decline the update and continue using OxygenOS instead. Users will also be able to roll back to OxygenOS if they accidentally update to ColorOS.
As part of its exit strategy, OnePlus will shut down its online community forums in North America and Europe on August 16. In an official announcement, the company said existing forum posts would no longer be accessible after the shutdown and urged users to manually save copies of their posts, comments, photos, guides, and other contributions before that date.
OnePlus’ announcement comes just days after reports began circulating that the long-rumored shutdown could happen as early as this week. Speculation about the company’s future has been ongoing for several months, with multiple tipsters and media reports claiming that OnePlus planned to close its operations in the US, UK, and EU.
OnePlus previously issued denials that failed to convince many observers, with India CEO Robin Liu stating that the company’s local operations would continue as usual. However, he resigned just weeks later, raising further questions about the statement. The company has since confirmed that it will remain operational in India and China and has launched multiple devices in both markets over the past few months.
Tech
After YouTube, TikTok is testing its own AI likeness detection tool
AI deepfakes have become a headache for creators, and TikTok is finally stepping up to fight back. Social media consultant Matt Navarra spotted the platform quietly testing a new opt-in tool that hunts down AI-generated content mimicking a creator’s face, giving them the power to flag it directly.
TikTok US spokesperson Zachary Kizer confirmed to The Verge that the test is currently limited to a small group of US creators. This puts TikTok right on YouTube’s heels, which already expanded its own likeness detection tool to eligible creators over 18 after months of quiet testing, and even extended similar protections to celebrities and talent agencies earlier this year.
To fight deepfakes, TikTok wants a scan of your real face
TikTok’s AI likeness detection tool is optional, but creators who want to use it must first verify their identity through Jumio. That includes a real-time selfie and an ID check. According to Kizer, TikTok does not keep ID documents, while facial data is used only to match a creator’s likeness and identify possible unauthorized AI-generated content.
Once verification is complete, TikTok starts scanning AI-generated content that may feature the creator’s face or likeness. If it finds potential matches, the creator can review them and report any posts or accounts they believe are impersonating them.

Why does TikTok’s opt-in approach matter here?
Recent events have shown how quickly AI-generated likenesses can become controversial. Earlier this month, Meta launched Muse Image, letting anyone generate AI images using public Instagram photos, with every account opted in by default. Backlash was swift enough that Meta pulled the feature just three days later, admitting it missed the mark.
TikTok flips that script: verification comes first, participation is opt-in, and creators stay in control. With YouTube and TikTok now leading the way on this kind of protection, AI likeness detection is quickly becoming a tool creators expect from every major video platform.
Tech
I wanted to love it, but…
Verdict
As an all-in-one instant camera/printer, the Fujifilm Instax Mini Evo Cinema does so much right, and the ability to jump between different decades to change the look of your photos never gets old. It’s just a shame that the camera doesn’t reach its potential on video, and at full price it’ll be far too expensive for a lot of people.
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Retro-inspired design is a lot of fun
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Eras concept is well realised
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Fast printing
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Time restrictions on video feel absurd
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App set-up is far too convoluted
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Glitches and bugs everywhere
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Quite a hefty price tag
Key Features
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Review Price:
£329.99
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Hybrid camera system
Print out photos from the camera and your phone
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Eras Dial
Jump between decade-inspired filters
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Record video footage
Capture clips up to 15-seconds in length
Introduction
If you’re someone who misses the days of Polaroids, camcorders and Super 8 film cameras, the Fujifilm Instax Mini Evo Cinema carries a shot of pure nostalgia that’s hard to beat.
As much as I love the fact that you can now capture great-looking footage on most smartphones, including more cost-effective ones like the iPhone 17e, and you can now have proper professional-grade cameras in a compact form factor like the DJI Osmo Pocket 4, there is something about the clunkier camcorders of old that I miss.
It’s a hard thing to explain, but there’s something about the tactile feeling of holding a fairly hefty recording device in your hand that makes you feel more connected to what you’re capturing in the moment. I’m able to reclaim some of that when I bring the ShiftCam ProGrip with me on a day out, but the Fujifilm Instax Mini Evo Cinema, with its retro-inspired design, speaks to kids (now adults) of the 80s and 90s in a way that few other devices can in 2026, and that’s exactly why I jumped at the chance to try it out.
I wasn’t quite sure what to expect from a device that so clearly looks like it’s been taken out of a time machine, but in spite of its many faults, I really did enjoy my time with this camera.
Design and handling
- Super 8 inspired design
- Takes some getting used to but it’s fun when it clicks
- Grip and viewfinder accessories included
Depending on your age, you may recognise the Instax Mini Evo Cinema as having taken more than a few design cues from Fujifilm’s classic Fujica cameras, but what that means from a more contemporary perspective is that the device is built in a way that can feel completely foreign and unlike anything else that you can buy right now, which can take some getting used to.


Instead of the wider build that you typically see with most instant cameras, the Instax Mini Evo Cinema is constructed vertically, with the expectation that you use one hand to grip the base of the device and to access the trigger at the front, while the other can be used to operate the various sliders and dials on the left-hand side.
As much as I like the look of the Instax Mini Evo Cinema, it did take me a bit of time to wrap my head around how to hold it comfortably. I recommend using the little grip extension which can be added to the bottom and gives your hand the space it needs to help keep the device steady as you move.
When it comes to lining up your shot, there’s a 1.54-inch square display on the back of the Instax Mini Evo Cinema which is fine for scrolling through menus, but there’s a viewfinder accessory bundled in that I also recommend bringing into the mix. As someone who reviews a lot of the best smartwatches for a living, I don’t usually have issues with smaller screens but the viewfinder just helps you to get more creative with your framing.


If you want to take a quick selfie then you’ll be glad to know that there’s a small mirror on the front of the camera where you can line yourself up for the shot. I will admit that the framing can be a tad tricky as my positioning wasn’t quite where I thought it was initially, but after a few tries, it finally clicked.
As a final note on the design, I absolutely love the capture trigger on this thing. Instead of having a shutter button on top as you would with a typical camera, the Instax Mini Evo Cinema uses a trigger button where your index finger naturally rests. It’s just an immensely satisfying way of taking pictures and capturing video, and it taps into that aspect of photography that smartphones, no matter how great they are, can never really capture on a touchscreen.
Features
- Eras Dial adds unique, time period-inspired filters
- Built-in printer for photos taken on-device, and on your phone
- Glitches aren’t uncommon
Because it can take pictures, record video and even print photos, the Instax Mini Evo Cinema is an all-in-one device that stands above typical instant cameras that usually stick to photography.
The problem is that for the convenience of having access to those features, the cost comes at a premium, with the Instax Mini Evo Cinema tagged at £329.99/$409.95, which is just far too expensive. For that money and if you shop around, you could buy the Insta360 Go 3S vlogging camera and the Instax Square Link photo printer for around the same price. As much as I’ve enjoyed my time with the Evo Cinema, I don’t think it’s worth the full whack and you’re better off waiting for a discount.
If you do decide to push ahead however, there’s a lot to enjoy when you get this camera in your hands, and it starts with the rather ingenious Eras Dial. Part Instagram filter, part Taylor Swift-like trip down memory lane, the Eras Dial lets you jump between the decades to create a visual overlay that’s closely associated with the period in question, going all the way back to the 1930s.


What this translates to, for example, is a black-and-white TV-looking filter (complete with horizontal lines) for the 50s, as well as a slightly fuzzy but full of colour aesthetic when diving into the 80s.
Then there’s my personal favourite, the 90s, which took me right back with an overlay that looked like it came straight off a VHS player. It’s exactly how I remember our old family movies from the same era and I loved getting to play around with it. Taking pictures of modern-day items and places with this filter on was simply a blast, and I’m sure that everyone who uses the Instax Mini Evo Cinema is going enjoy toying with the decade that means the most to them.
You can tweak the overall look of each era by rotating the lens but I always found the default setting to be the most visually appealing. What I did enjoy toggling is the Frame Switch, a slider button on the side which, when activated, overlays some form of frame that’s exclusive to each era.
For instance, when the dial is set to the 90s, you’ll see information around the screen such as the date and a play button, much like how you would with video tapes back in the day. The 2010s frame is a nod to YouTube videos with a progress bar at the bottom and a livestreaming tag in the top-left corner which made me chuckle.
As mentioned before, the Mini Evo Cinema has a built-in printer that uses Fujifilm Instax Mini prints, and you can even use it to print off pictures that you’ve taken with your phone, something that I’ve greatly appreciated as I’ve been slowly maxing out my cloud storage with pictures of our newborn daughter. There’s a great bit of physicality to printing shots that you’ve taken on the device as there’s a lever you have to twist as a final bit of confirmation. I do wish however that the app situation was a bit more streamlined.
Instead of having just one app that works with all aspects of the Mini Evo Cinema, interactions are spread across two. At the centre of it all you have the Instax Mini Evo app which is designed for sending your photos to the Evo to print, as well as tapping into any video recordings you’ve taken on the device. If you want to extract pictures from the Evo then you’ll have to download the Instax Up! app, which just feels far too convoluted.


It also doesn’t help that during my time with the Instax Mini Evo Cinema, I encountered quite a few glitches. Being more specific, the camera crashed on me twice, requiring a reset in order to get things up and running again. Thankfully, these instances didn’t take too long to fix but it’s hardly ideal when you’re trying to capture shots in the moment, and for a device as costly as this one.
Image and video quality
- Photos have a great retro look to them
- The printing process is fast
- Videos are lacklustre at best
The quality you get from the Fujifilm Instax Mini Evo Cinema depends on a number of factors. With regards to pictures and footage captured on the camera itself, the era that you’ve picked can have a big impact – the 1930s mode, for example, because it’s supposed to have a dated look to match the time period, it can look a bit grainy at times. The 2020s mode, which effectively removes all filters, certainly looks a bit clearer, but the 1/5-inch CMOS 5MP sensor still has its limits.
Because instant cameras aren’t exactly known for putting out the type of high-quality pictures that the best camera phones can achieve, I’m willing to give the Mini Evo Cinema a pass, especially as I do quite like the retro look that the prints come out with. They have an almost ethereal aesthetic as if you’re trying to recall a distant memory, but I think that’s part of the fun.


The camera’s printing ability is impressive as there’s a good degree of colour reproduction here, but you can really put it to the test by printing out shots from your phone.
There is a slight bit of resolution lost in the process, so pictures won’t be as sharp as they are on your phone, but again, the colour reproduction from the original shot is solid. Plus, now I have a wonderful collection of physical pictures that I wouldn’t have had without the Mini Evo Cinema in tow. That’s precisely why it’s worth having a device like this to hand.


What I take more of an issue with is the video capture side of things. There was room here for the Fujifilm Instax Mini Evo Cinema to be a great little filmmaking tool, one that could inspire creativity like those classic Super 8 cameras could, but instead it’s something of a halfway house that doesn’t really serve anyone.
For starters, you can’t record anything longer than 15 seconds which is completely absurd. Why such a cap is placed on the user I’ll never know, but if the intention was to make the Instax Mini Evo Cinema a device meant for social media clips then I wouldn’t recommend it here either. The video quality is low-grade in a way that might be fun for transitions between better-looking footage, but you wouldn’t want to film long-form content on this (not in the least because the onboard mic doesn’t hold up well against surrounding noise).
To be more concise, this is a great camera for stills and prints, but less so for video.
Should you buy it?
You want a quirky, all-in-one instant camera
From the Super 8-inspired look of the thing to the ingenious Eras Dial, the Fujifilm Instax Mini Evo Cinema is a lot of fun to use for stills.
You need a competent video camera for filming
If you’re looking for a great entry-level recording camera then you’re better off looking at devices from Insta360 and DJI.
Final Thoughts
The best praise that I can give the Fujifilm Instax Mini Evo Cinema is that I had a lot of fun with putting it to the test – if the price wasn’t so high and the video capabilities were better thought out, I’d be scoring it higher.
From a photography perspective, I can’t really fault the Mini Evo Cinema. Playing around with the Eras Dial is a blast, and the physicality of turning the print lever to see my photos come to life is something that never got old. Being able to print photos from my phone is the icing on the cake, especially as I’m guilty of having too many memories locked away on digital devices.
Unfortunately, the 15-second video cap and the lacklustre quality that goes with it mean that the Fujifilm Instax Mini Evo Cinema is something I can hardly recommend over the likes of the DJI Osmo Pocket 4 or the Insta360 Go Ultra to budding filmmakers.
To see what the Instax Mini Evo Cinema is up against, check out our round-up of the best instant cameras you can buy.
How We Test
We test every camera we review thoroughly. We use set tests to compare features properly and we use it as our main device over the review period. We’ll always tell you what we find and we never, ever, accept money to review a product.
- Tested over two weeks
- Used in various conditions
- Printed off 20 pictures for quality comparison
FAQs
The Instax Mini Evo Cinema uses Fujifilm Instax Mini prints.
Yes, there is a Micro SD card slot on the Fujifilm Instax Mini Evo Cinema.
Full Specs
| Fujifilm Instax Mini Evo Cinema Review | |
|---|---|
| Manufacturer | Fujifilm |
| Video Recording | Yes |
| IP rating | Not Disclosed |
| Size (Dimensions) | 39.4 x 132.5 x 100.1 MM |
| Weight | 270 G |
| Release Date | 2026 |
| Screen | Yes |
| Bluetooth | Yes |
| Number of Memory card slots | 1 |
| USB charging | Yes |
| UK RRP | £329.99 |
| USA RRP | $409.95 |
Tech
Ken Paxton Vowed To Crack Down On “Illegal Voting.” He May Have Violated Texas Election Law.
from the hypocrisy-is-a-part-of-the-job dept
This article first appeared on The Texas Tribune.
Two weeks before this year’s primary elections, Texas Attorney General Ken Paxton announced the creation of a tip line for the public to report people or groups suspected of voter fraud.
“Free and fair elections are a cornerstone of a thriving republic, and with the authority granted to my office by the Legislature, we will stop at nothing to uncover and stop any illegal voting activity,” Paxton said in a February news release announcing the tip line.
The announcement linked to guidance from his office about election laws in Texas, which included a requirement to be a U.S. citizen, a prohibition on collecting mail ballots on behalf of others and a warning that “it is illegal to misrepresent your residence on election records or to establish a residence for the purpose of influencing the outcome of an election.”
“You must register to vote using the address where you reside,” the attorney general’s guidance stated.
Despite his own warnings, Paxton appears to have used an address where he did not live while voting in six elections in the past two years, including in May’s runoff that made him the Republican nominee for U.S. senator, according to records obtained by ProPublica and The Texas Tribune.
State Sen. Angela Paxton said in a 2025 divorce filing that Paxton, whom she accused of adultery, moved out of their Collin County home a year earlier. But Paxton continues to list the home’s address in the northern Dallas suburb on his voter registration. Angela Paxton declined to be interviewed. A source close to the Paxtons said the attorney general has not moved back into the home since leaving.
It is unclear where Paxton has lived for the past two years, but reporting by ProPublica and the Tribune has linked him to a home in neighboring Denton County since February.
Three election lawyers told the news organizations that Paxton may have violated the same Texas laws his office cautioned about in its news release.
ProPublica and the Tribune reached out to Paxton’s campaign on June 3, 15 and 25, asking why he remained registered to vote in Collin County when he appeared to no longer live there and about his connection to the Denton County property. A reporter also left a voicemail on his personal cellphone on June 25. The news organizations sent his government office and campaign staff an email on Monday with a detailed list of questions, including a request for Paxton’s response to election lawyers’ belief that he may be violating the law.
Paxton and his office did not reply until Monday’s email. Campaign spokesperson Madison Cercy did not answer the questions from the news organizations. Instead, she issued a statement saying that the attorney general has been “a national leader on election integrity, with a long record of defending Texas elections.” Cercy said that “attempting to insinuate otherwise and tear him down with a baseless, lie-filled tabloid story is not real reporting.”
Asked twice to provide specifics about what they believed was inaccurate, the campaign did not respond.
Voting in an election when the voter is ineligible is a second-degree felony under Texas law and is punishable by up to 20 years in prison and a fine of up to $10,000. But prosecutors rarely bring cases challenging individual voters’ residency claims because they are hard to prove, the election lawyers said.
State courts have repeatedly ruled that there is no single way to determine where someone lives, and judges must consider multiple factors, such as where a voter sleeps or stores personal belongings. Prosecuting such cases also requires proof that a voter “knowingly” or “intentionally” broke the law.
Even if it’s clear that someone doesn’t live at the address where they are registered to vote, state law allows them to remain registered if their absence is temporary and they intend to return. The provision is commonly used by college students and military service members.
“So long as you truly intend to return, I think you’re fine,” said Beth Stevens, an election lawyer who worked for the Harris County clerk and the Texas Civil Rights Project. “When you start doing things that suggest, ‘Oh, I’ve fully moved. I’m just wink-wink saying I intend to return,’ that’s when you get into questionable territory.”
Paxton’s public and contentious split from his wife could make it difficult to argue that he intended to return to the home they own and where she continues to reside, said David Becker, a former voting rights lawyer for the Justice Department.
“I think there would be questions raised about a residence where someone does not live, does not spend the night and can in no way have the intent to continue to reside. Those would probably raise red flags in any state,” Becker said.
Becker, who is now the director of the Center for Election Innovation and Research, a Washington, D.C.-based nonprofit that works to build public trust in elections, added that the situation is particularly problematic because Paxton’s job is to enforce election laws.
“Certainly, the chief law enforcement officer of the state of Texas, someone who has made claims about election integrity and made it a priority of his office, should be charged with knowing the laws of residencies of the state of Texas with regard to voting,” Becker said.
Paxton has advocated for strict enforcement of the state’s election fraud law, including in cases against voters his office alleged had falsified records about where they lived. In 2018, the attorney general’s voter fraud unit arrested nine people on suspicion of using residential addresses where they did not live to vote in a municipal election in Edinburg, in the state’s Rio Grande Valley. County prosecutors, acting on behalf of Paxton, later dismissed the charges after failing to secure a conviction against the mayoral candidate they alleged had encouraged those voters to register at false addresses. The candidate, Richard Molina, said he was innocent and said the prosecution was politically motivated.
Clark Birdsall was not the attorney on those cases but defended another resident whom Paxton prosecuted for illegal voting. Birdsall was stunned that the attorney general appears to have voted under an address where he does not live.
He called it “especially egregious that someone such as Ken Paxton appears he’s not conforming to the law.”
State privacy laws allow some politicians and law enforcement officials to shield their voter registration information from public view. Paxton does not do so. His opponent in the Senate race, Democratic State Rep. James Talarico, does. Talarico’s campaign said he lives and is registered at the north Austin home he purchased in 2022. ProPublica and the Tribune were not able to independently confirm this.
Paxton’s campaign did not raise any issues with Talarico’s voter registration. In her statement to ProPublica and the Tribune, however, Cercy said, “Talarico has actively campaigned against voter security measures” and has said he opposes voter identification requirements. She pointed to a 2021 Fox News interview in which the state representative said he opposed voter identification rules that would require Texans to provide their driver’s license number or partial Social Security number for mail ballots. Talarico said hundreds of thousands of Texans, who don’t drive, lack a driver’s license. He did not directly answer a question about Social Security numbers during the interview.
The Talarico campaign did not respond to a request for comment.
Paxton’s living arrangements since he separated from his wife are not public, but information obtained by ProPublica and the Tribune offers some indication of where he may have been residing since February.
In mid-February, a trust bought a 5,000-square-foot home listed for $2.4 million in a gated community in Denton County, according to the appraisal district and the seller’s real estate agent. The trust did not disclose its ownership to Denton County officials. Trusts are not required to by law, a spokesperson for Travis County’s appraisal district said.
Paxton shares a separate blind trust with his wife, Angela, that they have used to purchase property and other assets. For years, the address listed for that blind trust had been an office building in Collin County. But that address was changed to the Denton County home a week after the property was purchased.
Angela Paxton said through a spokesperson that she has no connection to the Denton County home or the trust that purchased it. The trustee of the Paxtons’ trust, family friend Chip Loper, did not respond to questions about the address change.
In June, a reporter knocked on the door of the Denton County home. No one answered. When the reporter placed a letter for Paxton in the mailbox, an envelope addressed to Warren Paxton, the attorney general’s given name, was visible.
Later that week, Paxton appeared on a podcast with Texas Lt. Gov. Dan Patrick. Video from the podcast showed Paxton seated in front of a fireplace and mantle that were nearly identical to those depicted in the home’s online real estate listing. One resident also told the newsrooms that they spotted Paxton in the gated community.

Separately, the Daily Mail reported in May that Paxton had moved into the Denton County home with Tracy Duhon, whose extramarital affair with Paxton, the news outlet said, prompted his wife’s divorce filing. The Daily Mail also published a video of Paxton and Duhon that it reported was taken at an airport in Iceland in late June. The video was quickly seized upon by Talarico, who depicted Paxton as out of touch with Texans. Duhon did not respond to questions about her connection to the Denton County property or about the Daily Mail reporting.
Paxton is not registered to vote in Denton County, voter rolls show. Instead, since February, he has voted in Collin County twice: once in the March Republican primary and once in the May runoff. Each Texas county elects its own slate of local officials, which is why state law requires voters to register where they live.
Ekow Yankah, a law professor at the University of Michigan whose expertise includes election law, said Paxton’s voter registration situation should remind the attorney general of what studies have consistently shown: that intentional illegal voting is rare.
“You would think that somebody who’s going through this would learn a little bit of humility that lots of things which look on their face, like technical violations of the law, are usually explained by totally ordinary things,” Yankah said. “It’s only if you’re utterly cynical and ignore all the evidence that you make a claim that, in fact, these cases are attributable to nefarious criminal intent.”
Paxton cannot claim ignorance of the law because he enforces it, said Joshua Blank, research director of the Texas Politics Project at the University of Texas at Austin. In fact, as attorney general, Paxton should avoid even the appearance that he is not following the law, Blank said.
“We expect these laws to be understandable by ordinary citizens,” Blank said. “When our elected officials who are tasked with passing and enforcing these laws exhibit troubles in engaging with the voting process themselves, that raises serious questions.”
Filed Under: elections, ken paxton, texas, voting, voting fraud
Tech
Seattle indie hit ‘Stardew Valley’ is coming to ‘Magic: The Gathering’

One of the biggest hits ever produced by Seattle’s independent video game scene is joining the Magic: The Gathering multiverse later this month. Sort of.
Magic, the long-running collectible card game published and developed by Renton, Wash.-based Wizards of the Coast, frequently puts out special crossover editions via its Secret Lair imprint.
The Secret Lair “drops” are limited-run collectibles that typically reimagine older Magic cards with new designs and art, which replaces Magic‘s usual cast of wizards and monsters with, for example, Dwarf Fortress, Garfield, or various Marvel superheroes. A caveat: Secret Lairs are priced to appeal to die-hard collectors, rather than casual players.
On Friday, during the first day of MagicCon Amsterdam, Wizards announced several upcoming “drops” for Secret Lair, three of which are based on the popular indie video game Stardew Valley.
Stardew, made by solo developer Eric “ConcernedApe” Barone, is arguably the single biggest success story to come out of Seattle’s independent game development scene. It’s an open-ended video game about a young person who moves back to their grandfather’s abandoned farm, to raise crops, breed livestock, make friends, fish, adventure through the nearby abandoned mines, and/or romance neighbors. This can all be taken at the player’s own pace, with no particular time limits or directions.
Stardew’s success helped to popularize what’s come to be known as the “cozy” genre of chill-out, low-stress video games, alongside other hits like Nintendo’s Animal Crossing. Stardew celebrated its 10th anniversary earlier this year, has sold nearly 50 million copies across multiple platforms, and has spun out into a successful concert tour, a cookbook, and as of earlier this month, a crochet book.
Now Stardew is coming to Magic via Secret Lair, in a package that Wizards is calling the “Superdrop of the Moonlight Jellies,” named after a jellyfish-themed town festival in Stardew Valley.
Coming on July 27, the drop is split into three specific sets of cards: Welcome to Stardew Valley, Life in Pelican Town, and A Flicker in the Deep. The first set, Welcome, features unique pixel art made by ConcernedApe on each card.
Most of the cards in the Stardew Valley Secret Lair are reprints of existing Magic cards, though some have been renamed in keeping with the theme. For example, Swords to Plowshares is one of the oldest cards in Magic, but it’s getting a new Stardew-themed edition in this Secret Lair.
The lone exception is the actual Stardew Valley card (above), which is a special land that’s designed to be compatible with most styles of competitive Magic play.
Other upcoming Secret Lairs announced at MagicCon Amsterdam include:
- a full playable deck that’s based on the virtual Japanese singer Hatsune Miku;
- a food-themed take on J.R.R. Tolkien’s The Hobbit;
- four separate Marvel Comics drops, including one that will feature the universe’s various super-pets;
- three drops built around specific artists, including American cartoonist Gene Luen Yang (American Born Chinese);
- and most oddly, a drop with a theme based upon the French record label Lofi Girl, best known for its 24-7 chillhop YouTube “radio station” featuring its namesake and mascot.
Tech
AWS Billing Glitch Hits Customers With Billion-Dollar Fees
A glitch with Amazon Web Services’ billing operation led some customers to believe they owed the world’s fifth most valuable company billions of dollars. Oops!
Bill Radjewski, who runs CollegeFootballData.com, was one of the affected customers. This morning, he woke up to a jarring email alert from AWS: He had racked up more than $1.5 billion in usage fees, and his August 1 bill was on track to be upwards of $3 billion.
“I’ve had this account for 6+ years and in that time my monthly spend has never exceeded $0.02,” Radjewski tells WIRED. He shared screenshots of his three most recent monthly AWS invoices. They each came out to $0.01.
Based on replies to the AWS Support account on X, Radjewski is not alone. Others have received similarly shocking quotes: $22 billion; $75 billion; $110 billion. “Blud why did you hit me with a cost of 5 million USD what did I even do,” one user wrote. “Please explain man my heart will explode.”
When reached for comment, Amazon spokesperson Aisha Johnson referred WIRED to the AWS Service Health Dashboard. While it’s not clear exactly how many customers have been affected, the dashboard characterized the issue as “global.”
The dashboard also said that the billing console “began displaying incorrect estimated billing data” on Thursday, July 16 at 10:38 PM ET.
The company began investigating the issue about six hours later, per the dashboard, and concluded that the “root cause” of the error was “an issue with unit pricing within the estimated billing computation subsystem.” It did not specify what the issue was.
In subsequent updates, AWS said that it’s “rolling back a recent change to the billing computation subsystem,” and said it was attempting to revert to its “last known good estimated bill computation.” It also said it had “paused estimated billing computations.”
The issue should be resolved by this weekend, and “there are no customer actions required at this time,” the company wrote.
Ultimately, some customers have decided to post through it.
One Reddit user posted a screenshot of their current “Cost and usage overview” to the AWS subreddit, which showed that they had incurred $7.1 trillion in service fees since July 1—more than twice Amazon’s market cap.
Tech
The Zoom hack that says, ‘Don’t record me’
VC Jeremy Levine has a wry solution to something that routinely annoys him, according to a new Wall Street Journal article on the rise of AI transcription apps. On Zoom, he is no longer “Jeremy Levine” but instead “Jeremy Levine I do not consent to transcribing or recording.”
It may sound petty or brilliant, depending on your point of view, but what’s clear is that always-on recording is becoming ubiquitous, thanks to a growing crop of AI note-taking apps and devices, many of which we’ve covered here at TechCrunch (we’ve even ranked some).
VC Eric Bahn tells the outlet he now automatically assumes his meetings with founders will be recorded, even before he sees a phone slide across a conference table. One founder tells the WSJ she records most of her first dates with the Granola app, then feeds the transcript to Claude afterward to see if she could be more “engaging or empathetic,” while also assessing who did most of the talking.
Levine calls the whole trend “socially unacceptable behavior” that can completely kill spontaneous conversations. Others in the piece note it’s a legal minefield.
But there’s another wrinkle: if every meeting, watercooler conversation, and romantic outing gets transcribed and summarized, who’s actually reading any of it? At what point does this audio landfill of every conversation stop being useful and just become another recording no one has time to play back?
Tech
Sarah Downs Equips NASA’s Robots With Assembly Skills
Like many engineers, Sarah Downs says she knew she wanted to pursue a STEM career from a young age. As a teenager, she discovered robotics through her Tulsa, Okla., middle school’s First Lego League team, and she fell in love with the field, she says. Downs participated in the international robotics program from 2014 to 2016.
Watching PBS specials on NASA Mars rovers Spirit and Opportunity, and seeing the live broadcast of the Curiosity rover launch in 2011, inspired the teen to dream of a career working with NASA.
Sarah Downs
MEMBER GRADE
Graduate student member
UNIVERSITY
Texas A&M University in College Station
MAJOR
Electric engineering
This year the IEEE graduate student member achieved that dream. For her final project as a master’s degree candidate in electrical engineering at the University of Tulsa, she worked on an algorithm in collaboration with NASA and the U.S. Air Force.
The algorithm she developed enables a robot assembling satellites in space to insert an antenna into the correct spot, addressing robotics’s classic peg-in-hole problem of inserting an object into its corresponding hole.
Now a Ph.D. student in electrical engineering at Texas A&M University in College Station, Downs is continuing her research on satellite assembly and manipulation “but on a much larger scale,” she says.
Following a childhood passion
Downs grew up in the Tulsa area. Her father, who died from a heart attack in 2015 when she was 13, was a safety advisor in the oil and gas industry. Her mother stayed home to take care of her brother, who has autism. After her father died, her mother went back to college to earn a bachelor’s degree in business so she could support the family.
“We didn’t have much income, and my mom was always worried about money,” Downs says. “That made me more aware of having a successful career, in a monetary sense.”
From then on, whenever she considered her future career, having a decent salary to support the family was high on her list.
By pursuing a career in robotics, she says, she can follow her passion while obtaining financial security.
In high school, Downs joined the First robotics club, where she found herself drawn to the electrical components used in the machines she and her classmates built.
During her final two years of high school, she participated in an extension program at Tulsa Tech, a training school. She spent half her day in high school classes and the other half taking engineering courses at the vocational school.
After graduating in 2020, she accepted scholarships to attend the University of Tulsa. She began her freshman year at UTulsa not knowing whether she wanted to major in electrical or mechanical engineering, she says, adding that her love of working with small systems helped her choose EE.
For her senior year capstone project, she and two of her classmates designed a lunar lander exhibit for the Tulsa Air and Space Museum. They created an interactive game that simulates missions on lunar and martian surfaces. Four celestial bodies—the moon, Venus, Mars, and Titan—are listed across three computer monitors. Using a game controller, museum visitors can explore the virtual surface of each one. The exhibit is still on display.
Downs earned her bachelor’s degree in electrical engineering in 2024 and continued her education at the university’s EE master’s degree program.
Both more and less complicated than people think
When Downs began her graduate studies, she was supposed to be part of a NASA robotics project for two years. But when a delay in government funding postponed the project’s start, she instead spent her first year in the school’s Institute for Robotics and Autonomy, then newly launched. Its main focus is developing robots to assist people who have mobility challenges.
Inspired by her grandmother, who was wheelchair-bound due to severe arthritis, Downs developed a robotic arm that helps older people and wheelchair users live independently. The arm was able to identify and place objects in the appropriate locations inside the home, such as unloading certain groceries from a shopping bag and placing them on a shelf or in separate containers.
Before the start of her sophomore year in 2025, the NASA project finally secured government funding. She developed a robot that achieves the peg-in-hole task without using any vision systems. Typically, cameras help guide robots’ satellite-assembly work. But in the harsh, remote environment of outer space, cameras might malfunction or encounter delays.
“Don’t stop asking questions. Especially in engineering, don’t pretend like you know everything, because science is about constantly wanting to learn and listen.”
Rather than using cameras, Downs’s robotic arm deploys a force-based insertion process to sense position and orientation of objects in the arm’s environment. The robot loosely grips an antenna and, with a torque sensor on its gripper, “feels” the force feedback of where the satellite and antenna are in relation to each other. The robot then guides the antenna assembly into a target opening on its satellite and maintains the position during adhesion.
Adding to the complexity, the robot performs its task in zero gravity.
“Without gravity, you now have to consider the arm’s reaction torques on the satellite to avoid flinging it into space,” Downs says. Any motion from the arm during the insertion process, especially from increased forces, could cause the satellite to continue movement in that direction.
To combat that, Downs is performing calculations for the project to direct targeted reverse thrusts and counter the force of the robot’s motions.
Her graduate project captures the simple yet complex nature of robotics that she finds fascinating, she says.
“I think robots are both more and also less complicated than people think,” she says. “Really, all you need to start programming a robot is its Denavit-Hartenberg parameters, and you can do a lot with that,” she says, referencing the four values used to describe the position and orientation of a robotic arm and manipulators. Even with different grippers and degrees of freedom, “fundamentally, all robot manipulators start there,” she says.
“But,” she adds, “we’re still learning so much about how robots interact with their environment. Even something simple to us, like manipulating a pen, is still incredibly complex for robots.”
Downs is completing her doctoral thesis in the Robotic Space Simulator project at Texas A&M’s Robotics and Automation Design (RAD) Lab, which specializes in developing machines that can survive in extreme environments. It collaborates with NASA.
Her thesis advisor is Robert Ambrose, a NASA veteran who launched the RAD Lab in 2022. The IEEE member is set to serve as associate director of the school’s Space Institute, due to open this year in Houston. The research facility is being built next to the Johnson Space Center.
After earning her Ph.D., Downs says, she hopes to one day work for NASA, developing rovers that collect samples from Mars or robotic arms that perform tasks on space stations.
To learn more about robots, check out IEEE Spectrum’s guide.
Getting out of the engineering bubble
Downs joined IEEE in 2020 as a freshman at UTulsa to get more involved in electrical engineering events on campus. At the time, the COVID-19 pandemic kept clubs and organizations from meeting in person.
She was active in her school’s IEEE student branch and was elected as its 2022–2024 president. Under her leadership, the branch went from having a few events to hosting one every two weeks.
They included lunch-and-learn sessions and dinners that connected students with professional engineers and the university’s alumni. Downs also organized hands-on workshops on soldering, 3D printing, CAD modeling, and résumé-building.
Her efforts helped increase the branch’s executive board membership from roughly five students to 25 in 2023. The same year, her soldering workshop attracted about 80 students.
She says she enjoyed working with IEEE, especially “engaging with alumni and learning from engineers.”
IEEE is a great resource for networking opportunities, she says, noting that “during the COVID-19 pandemic, engineering students stayed in their bubbles.” IEEE events helped the students make connections that could serve them well, she says.
“Networking is very important, especially in today’s tough job market,” she says. “It’s a lot about who you know and how people observe your work ethic.”
Downs, who now serves as an IEEE graduate advisor for UTulsa’s student branch, says she has seen firsthand how the school’s student branch network has benefited its student members.
“A lot of them have found jobs” because of IEEE, she says.
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Linus Torvalds To Critics of AI Coding On Linux: ‘Fork It. Or Just Walk Away.’
Linus Torvalds says the Linux kernel will not ban AI-assisted coding tools, and if anti-AI absolutists have a problem with that, they can “fork it” or “walk away.” An anonymous reader quotes a report from Ars Technica: Writing in a lengthy post on the Linux kernel mailing list this week, Torvalds said that “Linux is not one of those anti-AI projects, and if somebody has issues with that, they can do the open-source thing and fork it. Or just walk away.” The statement came amid a lengthy thread arguing about the use of Sashiko, an “agentic Linux kernel code review system” that its creators claim can, in tests, independently find 53.6 percent of the bugs that would end up being fixed by human coders in later commits. But the tool can also waste maintainers’ time by sending “false positive” reports of bugs that don’t exist, at a rate Sashiko’s maintainers estimate is “well within [the] 20% range.”
In discussing whether maintainers should be subjected to a flood of these kinds of automated, AI-powered bug report emails (true or false), one poster cited the Software Freedom Conservancy’s recent statement that the open source community “should support, not just tolerate, those who outright reject LLM-gen-AI systems” and that “every FOSS contributor deserves self-determination regarding LLM-gen-AI.” In the face of that statement, Torvalds said that he rejects those who demand that their open source projects not accept any LLM-generated code or revisions. “We’re not forcing anybody to use [LLM tools], but I will very loudly ignore people who try to argue against other people from using it,” Torvalds said.
Torvalds said his position on this is a pragmatic one that’s “based on technical merit. Not fear of new tools.” And when it comes to utility, Torvalds said that “AI is a tool, just like other tools we use. And it’s clearly a useful one. It may not have been that ‘clearly’ even just a year ago, but it’s no longer in question today. Anybody who doubts that clearly hasn’t actually used it.” […] While Torvalds acknowledged that “AI isn’t perfect,” he urged detractors to compare the output of these tools to the performance of human code maintainers. “Anybody who points to the problems at AI had better be looking in the mirror and pointing at themselves at the same time,” Torvalds wrote. “Because it’s not like natural intelligence is always all that great either.”
Tech
Spotify is deleting millions of AI-generated music tracks to fend off spammers
SpotiSlop: Large language models and sophisticated audio-generation tools are disrupting the traditional music industry. Digital listening platforms such as Spotify have become prime targets for AI-powered spammers, but trade organizations are fighting back with new labeling programs.
Spotify’s Sam Duboff recently revealed that the platform was forced to remove 75 million AI-generated tracks in 2025 alone. As Spotify’s senior director and global head of marketing, policy, and music business, Duboff believes that AI has not introduced any entirely new tactics for spam operations. However, he also argues that generative AI and other machine learning technologies have taken audio spam to the next level.
Spotify now has systems designed to combat both AI-generated “slop” uploads and data scraping by companies seeking new content to train their generative AI models. Duboff confirmed that the company has a “big team” dedicated to identifying potential new attack vectors that could make life easier for spammers (or scraping bots).
The executive also provided several eye-opening figures highlighting the growing prevalence of AI-generated music on digital platforms. Every day, bots upload around 100,000 different “songs” to Spotify’s servers, and a large portion of these tracks are most likely “made” using generative AI services or custom LLM-based setups.

Duboff acknowledges that not every genAI track can simply be dismissed as slop. The 75 million songs removed last year were low-effort content with very little human creativity involved beyond a lazy chatbot prompt. However, “real” artists are increasingly using AI technology in their production workflows, blurring the lines between fake music and human-curated efforts.
Spotify is certainly embracing AI across its business these days. Earlier this year, co-CEO Gustav Söderström said that the company’s engineers are essentially allowing AI agents to handle much of their coding work. Spotify also said that AI tools approved by music labels are now fair game for creating remixes and covers that can then be sold on the platform.
Beyond Spotify’s growing pains with spammy tracks, generative AI is forcing the entire music industry to develop new solutions to the increasingly relevant AI slop problem. The International Federation of the Phonographic Industry, the RIAA, and other major trade organizations recently announced a “voluntary” program to properly label AI-generated music, giving listeners a clear indication when a song has been entirely created through a chatbot prompt. These labels should also identify “AI-assisted” music that was primarily created by human artists.
Tech
Another Apple price hike just landed, this time on Apple One
Apple has raised the monthly price of its Family and Premier Apple One bundles in the US. The Family plan now costs $27.95 per month, up from $25.95, while Premier has climbed from $37.95 to $39.95. Both plans are now $2 more expensive each month, adding another $24 to the annual bill. The Individual plan remains unchanged at $19.95 per month.
The increase arrives shortly after Apple raised subscription prices for Apple Music across its student, individual, and family plans. New AppleCare+ customers buying coverage for Macs and iPads have also been hit by higher prices recently.
What changed for Apple One subscribers?
Apple One Family includes Apple Music, Apple TV, Apple Arcade, and 200GB of iCloud+ storage. The services can be shared with up to five other family members.

The Premier plan includes the same services, alongside Apple News+, Apple Fitness+, and 2TB of iCloud+ storage.

Apple has not added any new services, storage, or other benefits to either bundle. Family subscribers will now spend $335.40 over a full year, while the Premier plan works out to $479.40 annually.
Apple’s subscription costs keep climbing
Apple has not explained why the two Apple One bundles have become more expensive. The company blamed its recent Apple Music increase on rising licensing costs, and the service is included in every Apple One plan. However, the unchanged Individual bundle suggests Apple Music is unlikely to be the only reason behind the latest adjustment.
The company has also raised AppleCare+ prices for new Mac and iPad customers by $0.50 per month or $5 per year. Those changes followed broader price increases across Apple’s Mac, iPad, Vision Pro, HomePod, and Apple TV lineups. Despite the price increases, Apple One still offers a discount compared to paying for every included service separately.
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