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Paramount Wins Warner Bros Battle, Purim, Qobuz Goes to War on AI, Robert Duvall, and Empire Ears Goes Kaput: Editor’s Round-up

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At sundown on Monday, Purim begins; a holiday rooted in survival, marking the Jewish people’s narrow escape from annihilation in ancient Persia. The story, told in the Book of Esther, is not subtle. A Persian court insider, named Haman convinces the king that the Jews must be wiped out. A young queen named Esther risks everything, steps forward, and turns the tide. Hamantaschen for everyone and don’t even think about handing me one that isn’t filled with poppy seed.

Poppy Seed Hamantaschen

Two and a half millennia later, history has a way of sounding uncomfortably familiar.

With hostilities resuming between Israel, the United States, and the Islamic regime in Tehran, the rhetoric stopped being theoretical and the missiles started flying. As Iran’s retaliation unfolded on Sunday, a ballistic missile struck Beit Shemesh, just west of Jerusalem, and in that instant, the war was no longer a headline scrolling past. It was immediate. It was personal. I put the pen down. I stopped writing. I called family. Nine neighbours were murdered in that strike. Politics disappears when your phone starts ringing and you’re counting names.

Believe what you believe about governments and geopolitics. But no people should live under the shadow of missiles or under a regime that exports death. May the Iranian people one day live in freedom and without fear. They deserve better than this nightmare.

And yet here we are, covering Paramount swallowing Warner Bros, Qobuz drawing a line in the sand over AI, Empire Ears going dark, AMC and indie theaters fighting for oxygen. The media and hi-fi worlds keep spinning. Deals get signed. Products launch. CEOs posture. But this week is a reminder that none of it exists in a vacuum. Not the mergers. Not the music. Not the movies. Not us.

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Paramount Wins Warner Bros While Netflix Walks

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For the past few months, the future of Warner Bros. Discovery was negotiated behind closed doors; over private dinners in Los Angeles, New York, and Washington, with lawyers murmuring, investors hovering, and regulators quietly keeping score. That maneuvering is over. Paramount has secured the company, with the board approving the deal late on February 26, 2026. David Ellison stayed in the fight. Netflix’s CEO chose not to counter within the allotted window rather than ignite a bidding war.

All of it unfolded under the watchful gaze of the Trump administration, where antitrust scrutiny and political leverage made clear that no media empire moves without federal gravity. Paramount won. Netflix stepped aside. Now the real battle for your wallet begins.

Control of Warner Bros. Discovery means control of one of the deepest libraries in modern entertainment — films, franchises, cable networks, news divisions, and streaming platforms that have defined multiple generations. The dollars matter. The regulators matter. The politics matter. But beneath all of that is a larger shift: power in Hollywood is consolidating fast, and the streaming hierarchy is being rewritten in real time.

Now comes the part nobody puts in the press release. HBO Max, TNT, CNN, Warner Bros. Television, DC, and a sprawl of international assets have to be folded into a single operating strategy. Tens of thousands of jobs sit under that umbrella. Overlap will be cut. Billions in costs will be slashed. Paramount has made it clear this must turn profitable quickly and before its own board starts asking hard questions. With more than $110 billion in enterprise value and obligations tied up in this ecosystem, there is no room for sentimental restructuring.

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Hollywood is not easing into a new era. It’s being forced into one.

Consolidation at this scale doesn’t lead to kumbaya town halls and better consumer bundles. It leads to layoffs. Platform convergence. Redundancies circled in red ink. Expect overlap to be cut aggressively and quickly. If HBO Max survives as a standalone brand under Paramount’s roof, it will be a minor miracle. The far more likely outcome is a folding into Paramount+, some Frankenstein hybrid pitched as “value.” As for the rest of the television portfolio under the umbrella; TNT, TBS, legacy cable properties, their long-term fate is anything but secure.

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And then there’s CNN. That’s the real live wire. Owning CBS News and CNN hands one studio extraordinary influence over the tone, framing, and velocity of national news coverage. That level of concentration will not go unnoticed. CNN’s ratings are soft even on a good week. Its on-air talent is expensive. Very expensive. Does Paramount maintain two separate news divisions? Do they merge them into something unified with a very prominent “C” at the beginning? No one at CNN is sleeping particularly well right now.

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It’s difficult to imagine that decision unfolding quietly or without casualties; Bari Weiss has every reason to be smiling right now, knowing that after selling The Free Press to Paramount and stepping into control at CBS News, she now holds the professional fate of many who once lined up to attack her.

The ripple effects extend to theaters. Both Netflix and Paramount made promises during the bidding process about theatrical commitments, windowing strategies, and respect for exhibition. We’ll see. The length of theatrical runs before titles shift to streaming is now a corporate lever, not a creative one. If windows shrink below three weeks, exhibitors, especially chains like AMC are going to feel it fast. Theaters are already operating on thin margins. Compress the window and you accelerate the decline.

Then there’s physical media — the part enthusiasts still care about. As buyers of discs, many of us felt marginally safer with Paramount controlling Warner’s catalog. But let’s not kid ourselves. What was once a multi-billion-dollar category is now a thin, diminished version of itself. Outside of specialty labels like The Criterion Collection, Arrow Video, and Kino Lorber, mainstream studio releases in 2026 are lucky to hit low six figures in unit sales. Low. Six. Figures. For companies the size of Paramount and Warner, that’s a rounding error tolerated, not prioritized.

Talent is the final pressure point. Do we really believe someone like James Gunn who has been openly critical of President Trump — remains comfortably in place at DC when Ellison did not win this fight without political gravity on his side? Maybe. But Hollywood loyalty lasts exactly as long as leverage does. Don’t be shocked if Gunn finds his way back to Marvel or under the Disney umbrella where the corporate alignment is cleaner.

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This is what monumental change actually looks like. Jobs will disappear. Platforms will merge. Newsrooms will consolidate. Theatrical windows will compress. Physical media will shrink further into boutique territory. And consumers? They won’t be the primary beneficiaries. Power has concentrated. Now we find out what that concentration costs and don’t expect the bill to be lower than what you’re paying now.

Qobuz Cracks Down on AI Content to Protect Artists

AI music is no longer some nerdy weird science experiment in a lab. It is a content factory running three shifts before its workers head out to Waffle House for eggs, grits, and fisticuffs.

Streaming platforms are getting buried under machine generated tracks. Endless ambient playlists by artists who have never seen a sunrise. Jazz trios that have never boozed it up and fought backstage over a set list. Singer songwriters with flawless pitch and the emotional range of a toaster. Upload by the truckload. Tweak the metadata. Scoop up fractions of a penny at industrial scale.

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If that sounds familiar, it should. It is basically the subplot of Office Space. Skim a microscopic amount from each transaction and hope nobody notices until the money adds up. Except this time it is not Initech. And there are no conjugal visits. It is the global music ecosystem. And the people getting screwed over are real musicians trying to pay the rent and afford health insurance. Spotify has been playing whack a mole with this stuff for a while now and they’re not winning. When the system rewards sheer output, you get a flood. Not art. A flood. Quality gets shoved to the curb and the consumer gets stuck listening to garbage they really didn’t want to pay for.

That is the mess Qobuz is stepping into.

Earlier this month Qobuz rolled out its AI Charter, which was easy to applaud and just as easy to ignore. Instead of leaving it as a mission statement, they built a proprietary detection system to scan the catalog and flag music that is one hundred percent AI generated. Not “possibly.” Not “we think so.” Tagged. Labeled. Out in the open. Those identifiers will begin showing up across the apps in the coming months so you actually know what you are listening to.

Qobuz Music Streaming on multiple devices

Qobuz is also tightening the screws on fraud. Impersonation attempts. Streaming patterns that look like they were engineered in a basement server farm in Tehran. The company is expanding its detection tools so if something smells off, it does not get the benefit of the doubt. It gets flagged, refused, or removed. And those fake streams do not count toward royalty reports. Good luck getting Spotify to offer up something like that.

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On the editorial side, Qobuz is keeping actual humans in the driver’s seat. Real editors picking Albums of the Week. Real teams building playlists and Qobuzissimes. No content mill dumping twenty thousand tracks into the hopper and hoping the algorithm gets bored enough to promote one. The Discover page will lean on curated data from in-house teams and trusted music labels.

And here is the line that will make certain tech executives roll their eyes. Qobuz says it will not generate audio for its catalog. It will not replace human curation with AI systems and not use customer data to train external AI models. That almost feels like open rebellion against the Emperor.

Why should you care?

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Because the money is not theoretical. A 2024 CISAC study projected that by 2028 music creators could lose around ten billion euros over five years due to AI competition and unlicensed use of their work. At the same time, generative AI companies could be pulling in billions annually from that same ecosystem. None of that sounds like a win for the artists who create real music and don’t be surprised when that becomes an even uglier fight for screenwriters, actors, and cinematographers.

The WGA and SAG have already gone on strike to fight against these practices and if you think studios undergoing acquisition and consolidation will continue to spend hundreds of millions on individual films when they can produce 10 for the same price using AI — you’re about to find out that profits matter more than quality.

For artists, this is survival. If machine output floods playlists and crowds out real musicians, visibility collapses and compensation shrinks even further. For listeners, it is about knowing whether the song you love was written by someone with rent due or generated by a prompt and a power bill.

Qobuz Deputy CEO, Georges Fornay explained that “the hyperinflation of AI content is creating distrust across the industry.” He is not wrong. When everything looks and sounds polished, authenticity becomes the differentiator.

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Qobuz is betting some of you still care who made the music. In a business chasing endless content like it is oxygen, backing humans is slower and messier. You didn’t sign up for synthetic background noise pretending to be art so it will be interesting to see if the rest of the market follows or bends the knee.

Empire Ears Shuts Down After 10 Years in the High End IEM Market

Empire Ears, a name that meant something in the boutique, high-end IEM world — is gone. After a decade of carving out a reputation for sonic excellence and obsessive craftsmanship, the brand quietly shut its doors on February 27, citing health challenges, rising costs, and an increasingly inhospitable market. For enthusiasts who watched Empire’s cables and custom monitors become fixtures on enthusiast wish lists, this is not a footnote. It’s a sign.

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And let’s be honest: not all is well in the high-end wired IEM market.

Brands like FiiO, Campfire Audio, and other smaller Asian boutiques are still shipping products and carving out niches, but Empire’s departure forces a hard question: have we hit saturation with ultra-premium wired IEMs in a world that has moved on to wireless? Four-figure cables and hand-crafted shells feel increasingly like boutique curiosities next to the convenience and everyday usability of wireless. The market that once justified artisanal attention has shrunk, shifted, and in some corners evaporated.

That tension will be on full display this weekend at CanJam NYC 2026, and yes, we will be there covering it. If wired IEMs still have gas in the tank, this is where the next spark of innovation should show up: new driver tech, refreshed tuning philosophies, perhaps unexpected form factors that justify carrying wires in the age of Bluetooth dominance. We already know that one of our favorite European headphone and IEM manufacturers plans to unveil a new $1,000 wired IEM this weekend, and it will be very interesting to see how the market reacts.

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But the departure of Empire cannot be ignored. It underscores a larger industry truth that many in audio enthusiast circles are quietly wrestling with: excellence does not guarantee survival. Passion does not pay rent. And even the most covetable products can find themselves adrift when consumer priorities shift faster than product cycles.

Smells Like Victory

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Robert Duvall died on February 15 at 95, and with him goes the kind of actor Hollywood does not turn out anymore.

Duvall did not arrive in Hollywood fully formed. He earned it the old way. He started on stage in 1952, grinding through summer stock at the Gateway Playhouse in Bellport on Long Island, taking a year off to serve in the United States Army before returning to the boards. Those early contacts opened the door to television in the 1960s, with appearances on serious dramas like The Defenders, Playhouse 90, and Armstrong Circle Theatre, where actors were expected to act, not pose.

He made his Broadway debut in Wait Until Dark in 1966. More than a decade later, already a film star, he went back to the stage for David Mamet’s American Buffalo in 1977 and earned a Drama Desk nomination. That tells you something. He did not see theater as a stepping stone. It was part of the craft.

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His film debut came quietly but memorably as Boo Radley in To Kill a Mockingbird in 1962. No grand speech. Barely any lines. Just presence. Then the run started. Bullitt. True Grit. M*A*S*H. THX 1138. He slipped into supporting roles and made them stick. You might not have walked into the theater for Robert Duvall in those early years, but you walked out remembering him.

Everything changed with The Godfather. Tom Hagen. Quiet consigliere. The man in the room who did not need to raise his voice because he already understood the temperature. It was a supporting role that felt like a lead. Duvall did that a lot. He made space feel heavier. He made silence do the talking.

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Apocalypse Now is the obvious landmark. Lieutenant Colonel Kilgore, sunburned and unhinged, delivering lines about napalm with a grin that told you everything about war and madness in a single breath. But go deeper and you see the range that defined him. The Apostle, which he wrote and directed, was raw and fearless. Tender Mercies earned him an Academy Award and showed how much power he could summon by barely moving at all. Lonesome Dove on television turned him into Augustus McCrae, all warmth and steel, reminding Hollywood that the small screen could still carry epic performances if you put the right actor in the saddle.

He was also a better dancer than anyone remembers. Watch him in Tender Mercies or The Apostle. Loose hips. Total commitment. No vanity. He moved like a man who did not care who was watching. He understood rhythm. Not just musical rhythm. Emotional rhythm. Scene rhythm. He could charm you in one beat and terrify you in the next.

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Duvall belonged to the old guard. The Clint Eastwood school. The Al Pacino and Gene Hackman generation. Actors who showed up prepared, knew their lines, respected the craft, and did not spend their days refreshing social feeds to see how the discourse was trending. He was not shy about his political views. He did not tailor them for applause. He also did not make them the centerpiece of his career. The work came first.

That is the difference. Today too many performers treat acting like branding. The right cause. The right quote. The right viral moment. Duvall did not need any of that. He was about the scene. About the truth inside it. He could be gentle and disarming. He could be solemn and wounded. And when the role demanded it, he could be cold, manipulative, and downright evil without blinking.

Even late in his career he could walk into a scene and own it. In Thank You for Smoking, he played tobacco tycoon Captain, half mischievous uncle, half corporate warlord, dancing around the moral hypocrisy of Washington with a grin and a glass in hand. 

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Every film or television project he joined improved simply because he was in it. He raised the standard in the room. Directors trusted him. Co-stars leaned on him. Audiences believed him.

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He was not flashy. He was not desperate to be liked. He was a professional in the purest sense of the word. And in an industry that increasingly rewards noise over depth, Robert Duvall felt like something rarer each year. A craftsman. A grown up. A cut above what too often passes for acting today.

We will not see many more like him.

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La Dolce Audio Current Drive Tube Amplifiers Have a Different Take on Valve Amplification: AXPONA 2026

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Most loudspeaker designers don’t spend much time debating open versus closed the way headphone enthusiasts do. Cabinets are part of the equation for a reason, offering control, efficiency, and predictable performance. That’s the accepted playbook. But like any good rule in audio, someone is always trying to break it.

At AXPONA 2026La Dolce Audio showed what happens when you ignore that playbook and lean into experimentation. Founder Terry Gesualdo isn’t approaching amplification or speaker design from a traditional standpoint, he’s part of a growing group of builders exploring open designs and current drive amplification as an alternative to the usual voltage driven norm.

I met Gesualdo on the shuttle ride over to the show, which feels about right. This isn’t a polished, corporate origin story, it’s the familiar path of someone who started by modifying gear, then building his own tube amps for himself, then for friends and family. The difference here is that he didn’t stop at tweaking circuits. He kept pushing until the results looked and sounded like something entirely his own.

Current Drive Tube Amplification: Why La Dolce Audio Isn’t Following the Script

Having built a few tube amps, I’m always curious to see what others are doing, and Terry Gesualdo is not following the usual path. Most of his designs are single ended pentode circuits, not triodes, and not push pull designs chasing more voltage swing. That choice alone puts him in a different lane than a lot of tube builders.

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Where things really diverge is the move to current drive. Most amplifiers are voltage driven. That’s the standard approach across both solid state and tube designs. Current drive shows up more often inside DACs where signal levels are extremely small, and occasionally in headphone amplifiers, but rarely in loudspeaker systems where current demands are far higher.

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The idea behind current drive is fairly straightforward. By controlling current instead of voltage, the amplifier reduces the impact of back EMF from the driver. That back EMF is the voice coil behaving like a generator as it moves through the magnetic field, feeding energy back into the amplifier. Reduce that interaction and, in theory, you reduce distortion and improve control over the driver.

It’s not a new concept, but it’s one that almost nobody is applying to loudspeakers in this way, especially with tube amplification. That’s what makes what La Dolce Audio is doing worth paying attention to.

Control Over Harmonics Instead of Chasing Purity

Circling back to that idea of ignoring the usual playbook, another aspect that reinforces how La Dolce Audio is taking a different path is the near exclusive use of pentode tubes instead of the more common triodes. Triodes are the simplest form of amplification with three active elements, anode, cathode, and grid. Fewer parts in the signal path is why many listeners and designers gravitate toward them. The assumption is less complexity means lower distortion and fewer unwanted artifacts.

But that’s only part of the story. Harmonic distortion doesn’t disappear just because the circuit is simpler. It just changes character. And not all harmonics are a problem. A lot of what people describe as tube warmth comes from second and third order harmonics, which many listeners actually prefer.

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Terry Gesualdo leans into that reality rather than trying to avoid it. By using pentodes, which add additional control elements beyond what a triode offers, he can shape those harmonic structures instead of accepting whatever the circuit gives him. That includes adjusting the balance between second and third order harmonics and even their phase relationships.

It’s a different mindset. Instead of chasing the lowest possible distortion number, the goal is control over how that distortion presents itself, and giving the listener a way to fine tune the result.

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Some will find that approach a bit sacrilegious. There’s a large part of the hobby focused on removing as much of this behavior as possible, chasing lower distortion numbers and cleaner measurements. That’s not the goal here.

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La Dolce Audio leans into a different philosophy. “If it sounds good, do it” is more than a slogan. It reflects the idea that listening is subjective and that not every system needs to be locked into a single interpretation of neutrality. By giving users control over harmonic structure, the design puts some of that decision making back in the listener’s hands.

UA2.5 and UA2.5M: Modular Power and User Tunability

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La Dolce Audio UA2.5M monoblock

La Dolce Audio offers two amplifier paths built around the same core ideas but with different roles. The UA2.5 is a dual channel amplifier rated at roughly 3 to 5 watts depending on tube selection, and it’s where most of the flexibility lives. With 24 possible sound signatures, it gives the user direct control over how the amplifier presents harmonic content and overall character.

The UA2.5M monoblocks step things up in output, delivering around 9 watts per channel, but they take a more focused approach. They are designed to be paired with the UA2.5, which handles preamp duties and sound shaping. As a result, the monoblocks do not include the same tuning controls, focusing instead on providing additional power while maintaining the same underlying design philosophy.

HPA2.3 Headphone Adapter

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La Dolce Audio UA2.5 Tube Amplifier (top) with HPA2.3 Headphone Adapter (bottom)

Alongside its amplifiers, La Dolce Audio offers the HPA2.3 headphone “amplifier,” although that label needs a bit of clarification. It’s not an amplifier in the traditional sense. The HPA2.3 is a passive device designed to work with the UA2.5, relying on it for signal processing and gain. In practice, it converts the UA2.5 into a headphone amplifier rather than operating as one on its own.

That means the HPA2.3 can drive a wide range of headphones depending on how the UA2.5 is configured, but it cannot function independently. No preamp, no sound.

Pricing reflects that modular approach. The UA2.5, which serves as the foundation of the system, runs between $1,799 and $2,499 depending on configuration and tube selection. The UA2.5M monoblocks are $1,999 each, and the HPA2.3 adds another $599. A full system lands in the $3,500 range, depending on how far you go down the rabbit hole.

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The Bottom Line

La Dolce Audio isn’t trying to fit into the usual mold, and that’s the point. In a category where a lot of designs feel like small variations on the same theme, this is a reminder that there are still different ways to approach amplification and system building.

Beyond the amplifiers, the partnership with ABX Audiophiles on Discord to offer open baffle speaker kits adds another layer. It invites listeners to get involved, not just as buyers but as participants, with a community that shares ideas, solves problems, and pushes designs forward together. We’ll have more on that ABX side of things in a forthcoming article.

It won’t be for everyone. If you want plug and play simplicity, this isn’t it. But if you’re the type who likes to understand what your system is doing and shape it to your preferences, La Dolce offers something most companies don’t. A system you can actually interact with, not just listen to.

For more information: ladolceaudio.com

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Hisense U7SG TV Review (2026): Better Design, Great Value

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Unlike previous years in what TV nerds like me call the “brightness wars,” the U7SG doesn’t outblast its predecessor, but it’s not a problem. It gets around three times as bright as anything you can stream (which is naturally capped due to compression), and has enough firepower for all but the flashiest 4K HDR Blu-rays. Its color processing shows a little more restraint than in previous models. It’s not quite what I’d call “accurate to the director’s intent,” like the best TVs I test, but it does keep itself from blasting your eyeballs most of the time.

The high brightness is matched by deep black levels, without much of the “blooming” or “haloing” around bright objects that can dilute the contrast of many budget-friendly TVs. It’s not as striking as OLED TVs, which can control each of their millions of pixels on demand, but it’ll wow you in deep space scenes just the same. I was pleased that the TV’s odd local dimming issue didn’t crop up in real-world content, but the picture does tend to flatten shadows in dark scenes more than expected, even as the matte-like screen does a good job keeping reflections at bay.

Image may contain Electronics Screen Computer Hardware Hardware Monitor Nature Outdoors TV and Scenery

Photograph: Ryan Waniata

There are some other notable flaws. Moving off to the TV’s side in my easy chair led to dimmer colors, washed-out contrast between the brightest and darkest images, and uneven backlighting, aka the “dirty-screen effect.” That stood out most in the green backdrop of the Masters on Sunday as Rory McIlroy held on for the win. It wasn’t an issue when viewing head-on, but even then, I noticed some dingy yellow lines along the screen’s left and right sides with light backgrounds. (I may not have noticed them much if I hadn’t been bombarding this TV with test content first.)

The U7SG still doesn’t feel quite like a premium model. But it’s a very clear, bright TV, and will feel more like it’s worth the money once RGB shows up on other Hisense models and the price on this one drops. If you want something brighter than a similarly priced OLED like the LG B5, the U7 is a great buy and has a few good upgrades over last year’s U75QG.

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We’ll know more about the 2026 TV landscape once the new RGB TVs have landed, but if you need a powerful, classy-looking TV before then, the U7SG should be on your list.

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Opinion: Whither Microsoft? A view from the neighborhood

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Microsoft’s Redmond campus. (GeekWire Photo / Todd Bishop)

Feroze Motafram is an operations consultant based in Sammamish, Wash., and founder of Avestan LLC. This piece is adapted from a LinkedIn post.

Someone asked me recently what made me think about writing this. The trigger, I told them, was simpler than you might expect.

I live in Sammamish, in the shadow of Microsoft’s looming presence. Microsoft employees are my neighbors, my social circle, the people I run into at weekend gatherings. Over time I noticed that conversations with them had a distinctive gravitational pull — always inward, toward reorgs, internal politics, who reports to whom now, who’s ascendant, who’s out. Customers were rarely part of the conversation. This usually means navigating the organization has become more consuming than building anything within it.

Microsoft’s stock decline and the softening of real estate in this corridor (both affecting me personally) were the prompts to write it down. The material was already sitting in front of me.

I should be clear about what I am and am not. My formal training is in electrical engineering. The primary instruments of my early career were set squares and slide rules, which will tell you something about both my vintage and my domain. I have spent the intervening decades as a senior executive at Fortune 100 companies and, more recently, as an operations and supply chain consultant. I build and fix things: supply chains, organizations that have lost their way. What I can offer is not insider knowledge. It is 30 years of pattern recognition, applied to what is visible from where I stand.

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This is the lens I am bringing. Take it for what it is worth.

The market is asking a question

Microsoft stock declined roughly 25% in Q1 2026, representing its worst quarterly performance since the 2008 financial crisis despite blockbuster results. The market may overreact, but it is not stupid. When the stock of a company of this scale underperforms that of its peer group by double digits, the question worth asking is not “is this a buying opportunity.” The question is: what does the market understand about this organization that the headlines don’t capture?

Part of the answer is visible in the financials. A striking portion of Microsoft’s forward revenue backlog is tied to a single counterparty, OpenAI, an unprofitable startup that has since signed a landmark cloud agreement with Amazon, directly challenging the Azure exclusivity Microsoft had treated as a cornerstone of its AI strategy. Meanwhile, Microsoft is building its own internal AI model as a hedge, an expensive bet layered on top of an already expensive bet.

But the part that does not show up in an earnings report may be the more consequential story. That is what I want to offer here.

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The monopoly dividend, and its hidden cost

For the better part of three decades, Microsoft enjoyed something very few companies in history have had: a captive market. Enterprise customers did not use Office because they loved it. They used it because leaving was more painful than staying. That distinction between loyalty and lock-in matters enormously, and it is one that organizations rarely make honestly about themselves.

When your customers cannot leave, the feedback loops that drive genuine innovation go silent. The tendency is to stop asking “what does the customer need?” and start asking “what can we get away with?” Processes multiply. Committees proliferate. Bureaucracy thrives. The organization optimizes for defending territory rather than creating it.

This is not a character failing. It occurs insidiously and unconsciously. It is an entirely rational organizational response to a monopolistic competitive environment. But it leaves a mark. And that mark does not disappear simply because the competitive environment changes.

Satya Nadella earned his laurels, but the work isn’t finished

The Azure pivot was a genuine strategic achievement, and Microsoft CEO Satya Nadella’s cultural reset from “know-it-all” to “learn-it-all,” as he framed it, was real and necessary. The stack-ranking era that preceded him did generational damage to Microsoft’s ability to collaborate, retain talent, and take meaningful risks. He arrested that decline and deserves full credit for it.

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But here one must tread carefully. Stack ranking was formally abolished in the final months of Steve Ballmer’s tenure. The announcement was celebrated, the headlines were laudatory. What is rather more interesting is what one hears in conversations since. Ask Microsoft employees about the performance review system that replaced it, and the response is rarely enthusiastic. Whether the underlying mechanics genuinely changed, or whether the organization simply learned to dress the same instincts in more palatable language, is a question I cannot answer from the outside. What I can observe is that the people doing the work don’t appear to believe the answer is reassuring.

Cultural transformation in a 220,000-person organization moves at a glacial pace. You can change the language in a decade. Changing the instincts takes considerably longer. One has to wonder how many of the engineers and managers who learned to survive the Ballmer years by navigating politics rather than building products have since moved on, and how many remain, in leadership positions, still oriented by instinct toward self-protection over bold action.

What I can observe is the output. Copilot (inarguably Microsoft’s most strategically critical product) has converted just 15 million paid subscribers from a captive base of 450 million Microsoft 365 users. That is 3.3%. When your own customers will not buy what you are selling at scale, it is worth asking whether the product is genuinely solving a problem or simply a feature in search of a use case.

Microsoft’s internal preoccupations do not stay inside the building. I have observed versions of this dynamic before, most vividly when I lived in Brookfield, Wis., in the orbit of GE Healthcare’s then-headquarters. But what I observe in this corridor is of a different magnitude. It is not just politics that dominates the conversation. It is the organization itself — its structure, its hierarchies, its shifting priorities — that has become the primary subject of intellectual energy.

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The campus, in a very real sense, has become the product. When navigating the organization becomes more consuming than building anything within it, that is not a criticism of the individuals. It is a diagnosis of the system they are operating inside.

The human capital story no one is writing

There is a dimension to this that the financial press has largely missed, and I raise it because I see it in my community every day… including, in ways I did not anticipate, in my own backyard.

A significant proportion of Microsoft’s engineering talent (and the engineering talent of the broader Seattle tech corridor) consists of H-1B visa holders. These are exceptional professionals: highly educated, deeply skilled, often carrying decade-long career investments in the United States. They have built lives here. Many have children born here. They have been, in many cases, the intellectual engine of the products Microsoft is depending on to compete in the AI era.

That population is operating under a level of personal anxiety that is, in my observation, without modern precedent. Travel advisories from their own employers. A $100,000 petition fee for new visa applications. Proposed rule changes touching birthright citizenship. A policy environment that sends a clear and unambiguous message: your presence here is conditional, negotiable, and subject to revision without notice.

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The behavioral consequence of that anxiety is not visible in a quarterly earnings report. But it is real and consequential. People operating under existential personal uncertainty do not take professional risks. They do not champion the bold new initiative. They do not volunteer for the high-visibility project that could fail. They execute reliably on what already exists and protect their position. In an organization that already has a cultural predisposition toward risk aversion, this compounds the pathology in ways that will show up — perhaps not this quarter, but in the product decisions made over the next eighteen months.

The effects are visible beyond the campus walls. Conversations with real estate professionals in this corridor tell a consistent story: demand from this community, which has historically been among the most financially capable buyers in the region, has softened measurably. Not because the finances have changed, but because the horizon has. When you are uncertain whether your visa will be renewed, or whether your children’s citizenship status may be revisited, you do not buy a house.

The softening of demand is not merely an abstraction for those of us who live here. But the more significant consequence is not measured in property values. It is measured in the quality of risk-taking inside those campuses. And risk-taking is precisely what Microsoft needs most right now.

The case for optimism, and why it requires more than patience

None of this is to suggest Microsoft is broken beyond repair. Betting against Microsoft has historically been an enterprise for the foolhardy. The balance sheet remains stellar. The enterprise relationships are genuinely extraordinary. Ripping out Azure, Teams, and the M365 stack is not a decision any CIO makes lightly. The installed-base moat is real, and should not be underestimated by anyone, least of all an operations consultant from the suburbs.

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What I would offer, more modestly, is this: the bull case requires more than a great balance sheet and sticky products. It requires an organization capable of genuine innovation at speed. Which in turn requires a culture that rewards risk, retains its most creative talent, and executes with urgency. Whether Microsoft can summon those qualities at this particular moment is a question I cannot answer with conviction.

What I can say is that the market, which is considerably more qualified than I am, appears to be asking the same question. The valuation has compressed to levels not seen in a decade, briefly falling below the S&P 500 for the first time in a generation. That is not the posture of a market betting with conviction that the answer is yes.

Perhaps it should be. I honestly don’t know. What I do know is that the signals visible from outside the building — from the neighborhood, from weekend gatherings, from the casual conversations — are worth paying attention to. They usually are.

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Humanoid robot beats human half-marathon world record by 7 minutes at Beijing race with 112 teams

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A humanoid robot named Lightning completed the Beijing E-Town Half-Marathon today in 50 minutes and 26 seconds, beating the human world record by nearly seven minutes. The robot, built by Shenzhen Honor Smart Technology Development Co., navigated the 21-kilometre course autonomously, without remote control, using multi-sensor fusion and real-time decision-making algorithms. A second Lightning unit, this one remotely controlled, crossed the finish line even faster at 48 minutes and 19 seconds. The human half-marathon world record is 57 minutes and 20 seconds, set by Uganda’s Jacob Kiplimo in Lisbon on 8 March.

The robots and the roughly 12,000 human runners followed the same route but competed in separate lanes. The human race was won by Zhao Haijie of China in 1 hour, 7 minutes, and 47 seconds. The robot race was won by a machine that stands 169 centimetres tall, has an effective leg length of 95 centimetres designed to mimic elite human runners, generates 400 newton-metres of peak torque, and uses a proprietary liquid cooling system with a heat exchange flow rate exceeding four litres per minute, technology borrowed from Honor’s smartphone division.

The scale of the event

This was the second edition of the Robot World Humanoid Robot Games Half-Marathon, co-hosted by the Beijing Municipal People’s Government and China Media Group. The first, held on the same date last year, was riddled with mishaps. Only six of 21 robotic runners completed the course. Several stumbled, careened out of control, or simply lay down at the starting line. The winner, a Tiangong Ultra robot, finished in 2 hours, 40 minutes, and 42 seconds.

The 2026 edition was a different event in almost every respect. One hundred and twelve teams from 26 brands entered, fielding more than 300 individual robots, including five international teams from Germany, France, and Brazil. Roughly 40% of the teams competed in the autonomous navigation category, in which robots must navigate the course without human input. Remote-controlled teams had their net times multiplied by a 1.2 coefficient, a 20% penalty designed to encourage autonomous capability. All three podium finishers in the autonomous category were Honor robots, and all three posted times faster than the human world record.

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The improvement from 2025 to 2026, from six finishers out of 21 to more than 100 teams competing with autonomous navigation, represents the kind of year-over-year progress that makes the event significant beyond spectacle. Lightning still collided with a barricade near the finish line and fell, requiring staff to help it back up before it completed the race. Another robot fell at the start line. But the failures were exceptions rather than the norm, a reversal from last year.

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Who built the winner

Honor, the smartphone manufacturer spun off from Huawei in 2020, is the first major phone company to enter the humanoid robotics market. It unveiled its humanoid robot programme at Mobile World Congress on 1 March and committed $10 billion over five years to AI development. The company says Lightning’s running speed of four metres per second is 14% faster than Boston Dynamics’ Atlas. The entire development-to-marathon-entry process took one year.

Du Xiaodi, an Honor engineer on the winning team, said the competition’s value lies in technology transfer: “Looking ahead, some of these technologies might be transferred to other areas. For example, structural reliability and liquid-cooling technology could be applied in future industrial scenarios.” The race functions as a forcing function for locomotion, balance, navigation, and endurance, the same capabilities required for factory floors, construction sites, and eventually domestic environments.

China’s humanoid robot industry

The marathon is a showcase for an industry that China is building with the kind of coordinated state investment it previously applied to electric vehicles and solar panels. The 15th Five-Year Plan, covering 2026 to 2030, elevates robotics and “embodied intelligence” to one of the country’s top ten “new industry tracks.” The government has committed a one-trillion-yuan ($138 billion) state-backed fund to humanoid robots, industrial automation, and embodied AI. In February, the Ministry of Industry and Information Technology unveiled the “Humanoid Robot and Embodied Intelligence Standard System,” drafted by more than 120 research institutions and manufacturers, with a roadmap to push Chinese standards into ISO and IEC international adoption by 2028.

MIIT describes humanoid robots as “the next groundbreaking innovation following computers, smartphones, and new-energy vehicles.” The industry is projected to surpass 20 billion yuan ($2.8 billion) in scale by the end of this year. Chinese companies already dominate production. AGIBOT shipped more than 5,000 units in 2025. Unitree Robotics shipped 5,500. UBTech shipped more than 1,000 and plans to reach 5,000 this year and 10,000 in 2027. Chinese firms accounted for nearly 90% of global humanoid robot shipments last year. By comparison, Boston Dynamics, Figure AI, and Agility Robotics each shipped approximately 150 units.

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The gap between running and usefulness

The question the marathon raises is whether speed on a road translates into capability in a factory or a home. Western humanoid robot companies, including Tesla with Optimus, Figure AI, and those supplying BMW, have emphasised dexterity and manipulation: picking up objects, assembling components, navigating cluttered indoor environments. Chinese companies have invested heavily in bipedal locomotion and speed, which produces more dramatic demonstrations but addresses a narrower slice of the problem.

The global humanoid robot market is projected to reach somewhere between $6.5 billion and $15 billion by 2030, depending on the research firm, with Goldman Sachs estimating $38 billion by 2035. The spread in projections reflects genuine uncertainty about how quickly robots that can run a half marathon will learn to do things that people will pay for. Industrial deployment is advancing: Figure 02 completed an 11-month pilot at a BMW plant, moving more than 90,000 components. But the gap between a controlled factory deployment and the kind of general-purpose humanoid robot that China showcased at its Spring Festival Gala remains wide.

Lightning’s 50-minute half-marathon is a genuine engineering achievement. A robot that navigates 21 kilometres autonomously, maintains balance at 25 kilometres per hour, manages thermal loads through liquid cooling, and recovers from a collision with a barricade has demonstrated capabilities that did not exist in any humanoid platform a year ago. The question is not whether the technology is impressive. It is whether the country investing $138 billion in it will find applications that justify the spending before the rest of the world catches up on a different approach to the same problem.

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Chinese Automaker Seres Gets Patent Approved for a Toilet That Slides Out from Under a Passenger Seat

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Aito Seres Slide-Out Toilet In-Car
Photo credit: Autoblog
Seres developed an in-car toilet design that allows the system to fit inside an electric vehicle without taking up additional room. Engineers put the entire assembly on a movable rail connecting to the seat frame. When it is not needed, the toilet simply disappears beneath the floor. All it takes is a simple nudge or a whispered order, and it appears like a drawer.



Voice commands activate the system with a simple phrase that initiates the toilet function. Once you get access to it, the rest of the interior remains largely unchanged. A built-in fan draws in air and expels foul air through an exhaust pipe. Pee and other waste enter a tank, which must be manually emptied when you get at your destination. They include a small heating element inside that helps to dry everything up, making cleanup easier.

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The beauty of it is that when it’s not in use, nothing sticks out, allowing you to use the space for seating or storage. The patent filing cites extended journeys, camping vacations, and any time spent living in your car as the primary reasons for this functionality. Traffic delays that used to force you to make painful decisions are no longer as inconvenient. Seres already manufactures automobiles with features meant to make your daily commute easier. They compete in a market where each new model strives to be unique. This invention fits nicely into that approach by figuring out how to transform something you use every day into another part of the car.

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Aito Seres Slide-Out Toilet In-Car
There are still several technicalities to be sorted out before anyone can install this system in a real car. There is concern that scents may remain if the fan or seals fail to function properly when the unit is frequently utilized. Emptying the tank is also a bother, whether at the gas station or at home. If you’re sharing a car with a group of people, you might be afraid to take turns in such a small place, and there’s also the question of how well it will withstand all of the road’s bumps.


Seres hasn’t said whether they intend to manufacture any automobiles with this system in them. Patents don’t always come to fruition, therefore there’s a high risk this idea will go unnoticed. Nonetheless, it’s a creative solution to a problem that almost every driver has encountered at some point. If it ever gets it out of the design phase, road vacations may not be such a burden.
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Tesla is rolling out its Robotaxi service to Dallas and Houston

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Tesla is expanding its Robotaxi footprint across Texas by introducing availability in both Dallas and Houston. As announced in a post on X, the EV maker is rolling out its Robotaxis to small sections of the Texas cities, as detailed by two maps of its new service areas.

The first Robotaxi rides started in Austin, Texas where Tesla is headquartered, but the service’s launch was paired with a “Tesla Safety Monitor,” or a supervising human in the passenger seat. Earlier this year, Tesla began to transition away from including safety monitors, leaving its Robotaxis to operate unsupervised and fully autonomous. In the latest announcement on X, Tesla also showed off a 360-degree panning shot with no safety monitor, but the company hasn’t stated if its Dallas and Houston service will have in-car human supervision. It’s worth nothing that Tesla previously admitted that some of its Robotaxis are sometimes driven remotely by human operators.

With the Robotaxi expansion into Dallas and Houston, Tesla is encroaching on Waymo’s autonomous ride-hailing service that entered the same markets in February of this year. Looking ahead, Tesla is also targeting the Bay Area market in California for its Robotaxi expansion. While the company has received approvals to operate a ride-hailing service in California, it still doesn’t have authorization for autonomous taxis in the state yet.

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The best robot vacuum in Australia: reliable, effective, effort-free automated cleaners

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Vacuuming is a chore, even if you use one of the best vacuums in Australia. If you want to make it as effortless as possible, investing in one of the best robot vacuums is the way to go.

The best robovacs available today are autonomous cleaners requiring minimal human intervention. They’re perfect for regular vacuuming and mopping, plus they can be scheduled for when you and the family will be away to minimise disrupting household activities.

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Voyager 1 is Running Out of Power. NASA Just Switched Part of It Off

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After 49 years of space travel, Voyager 1 “is running out of power,” reports NPR:

The spacecraft runs on a radioisotope thermoelectric generator — a device that converts heat from decaying plutonium into electricity. It carries no solar panels, no rechargeable batteries. Just the slow, steady release of nuclear warmth, which diminishes by about 4 watts each year. After nearly five decades, that decline has become critical.

During a routine maneuver in late February, Voyager 1’s power levels fell unexpectedly, bringing the probe dangerously close to triggering an automatic fault-protection shutdown — a self-preservation response that would have forced engineers into a lengthy and risky recovery process. The team needed to act first. On April 17, mission engineers sent a sequence of commands to deactivate the Low-energy Charged Particles experiment, known as the LECP, which is one of Voyager 1’s remaining science instruments. The LECP has measured ions, electrons, and cosmic rays originating from both our solar system and the galaxy beyond it, helping scientists map the structure of interstellar space in a way no other instrument could…

Voyager 1 now carries two operational science instruments: one that listens for plasma waves, and one that measures magnetic fields. Engineers believe the latest shutdown could buy the mission roughly another year of breathing room. The team is also developing a more sweeping power conservation plan they informally call “the Big Bang” — a coordinated swap of several powered components all at once, trading older systems for lower-power alternatives. If testing on Voyager 2, planned for May and June 2026, goes well, the same procedure will be attempted on Voyager 1 no sooner than July. If it works, there is even a slim chance the LECP could once more continue to work.

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The engineers say they hope to keep at least one instrument operating on each spacecraft into the 2030s. It would leave both still reporting from places no machine has ever gone before.111
Voyager 1 is now 15 billion miles from Earth, the article points out. (Radio signals take 23 hours to arrive…)

Thanks to long-time Slashdot reader fahrbot-bot for sharing the article.

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A $5 Bluetooth tracker hidden in a postcard exposed a warship's movements

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Dutch regional broadcaster Omroep Gelderland reported that one of its journalists tracked HNLMS Evertsen, a Dutch air-defense frigate, during an active deployment in the eastern Mediterranean. The ship was operating to help protect France’s aircraft carrier Charles de Gaulle against missile threats when the tracking occurred.
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Audma’s ELISA Technology Enables Speaker Like Soundstage from Any Headphones: AXPONA 2026

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At AXPONA 2026, the EarGear section was filled with the usual heavyweight brands, but a smaller name managed to stand out. Audma may be a new company on paper, founded in 2024, but its story reaches back to 1978 when Cesare Mattoli began chasing a stubborn idea: getting headphones to sound more like speakers in a room.

For decades, that goal remained out of reach. Mattoli built and rebuilt designs that never quite delivered, held back more by the limits of available technology than a lack of vision. That changed in 2022 with the arrival of ELISA, the Electronic Loudspeaker Imaging Simulating Amplifier, which finally brought his concept into focus. The company later rebranded as Audma in 2024, keeping ELISA as the core technology behind its products. Since then, Audma has introduced two amplifiers, the Maestro HPA1 desktop model and the Brioso PHPA1 portable, both demonstrated at AXPONA as a different way to tackle soundstage without changing your headphones, just the signal path.

Audma Maestro HPA1 Headphone Amplifier
Audma Maestro HPA1

While most headphone manufacturers try to squeeze more space out of their designs by tweaking cup geometry, airflow, and damping materials, Audma takes a different route. Its approach centers on delay line processing at the amplification stage, shaping how the signal reaches each ear rather than altering the headphone itself. The idea is straightforward: keep your existing headphones and source, insert one of Audma’s amplifiers into the chain, and let the processing do the heavy lifting in creating a more speaker like presentation.

Audma Brioso PHPA1 Portable Headphone Amplifier with ELISA
Audma Brioso PHPA1

How Audma ELISA Reworks Spatial Cues Inside Your Headphones

The ELISA circuitry uses delay line processing to create an image that more closely approximates what a listener hears with speakers or live music. One of the core issues it addresses is that headphones separate channels too well. In real world listening, the brain determines direction and distance based on the time delay between when a sound reaches each ear and the reduction in level at the farther ear.

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With headphones, that mechanism is largely lost because each channel is delivered almost entirely to one ear. Some amplifiers and digital audio players attempt to compensate with crossfeed. Crossfeed mixes a portion of each channel into the other with reduced level and a slight delay so that both ears receive both signals, more like real listening conditions. Different implementations vary the amount of delay and level, which is why reactions to crossfeed tend to be mixed.

Audma builds on that same principle but with a more advanced approach. ELISA allows adjustment of both delay and perceived direction rather than just blending the channels. On both the desktop and portable amplifiers, listeners can control the apparent distance and angle of the sound, effectively expanding or narrowing the stage and shifting their position relative to it. In practice, that means you can move closer to the performance or further back by making a few adjustments, rather than changing headphones.

ELISA Enabled Products

audma-hpa1-rear
Audma Maestro HPA1 rear

The Maestro was Audma’s original release and is designed to function as both a headphone amplifier and a preamp. Connectivity is extensive, with XLR, RCA, coaxial, optical, and USB inputs, along with both RCA and XLR outputs. The chassis follows a fairly standard full size footprint at 16 x 4.5 x 16 inches (W x H x D) and is available in either brushed metal or black, with weight ranging from roughly 20 to 25 pounds depending on configuration.

On the digital side, the Maestro incorporates an AKM 4499REQ DAC capable of up to 768 kHz/32-bit PCM and DSD256, making it a serious standalone DAC as well. As a headphone amplifier, it offers an output impedance of 6 ohms and six selectable gain levels at 0, +6, +12, +18, +24, and +30 dB, allowing it to accommodate a wide range of headphones. Output power is rated at 4 watts into 32 ohms and 8 watts into 300 ohms, and it had no issue driving 600 ohm headphones during the demo, including a borrowed Beyerdynamic headphones.

Audma Brioso PHPA1 portable headphone amplifier rear
Audma Brioso PHPA1 (rear)

Along with the standard controls and ELISA stage and angle adjustments, the Maestro also includes phase control, giving the listener another layer of tuning to better match personal preference and system synergy.

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The portable Brioso PHPA1 offers both headphone amplifier and DAC functionality but drops the preamp role in favor of battery operation. Its size and shape are roughly comparable to a Samsung Galaxy S25+, measuring about 3 inches wide, three quarters of an inch thick, and just under 6 inches tall. Weight comes in at around half a pound, making it easy enough to carry on a daily basis.

Internally, it uses the AKM 4499EXEQ DAC paired with the 4191EQ modulator, supporting up to 768 kHz PCM and DSD256. For those who prefer an external DAC, both 3.5 mm and 4.4 mm analog inputs are included. The amplifier section provides four gain settings at 0, +8, +16, and +24 dB, with output power rated at 4 watts into 32 ohms and 5.4 watts into 150 ohms, which is more than enough for the vast majority of headphones.

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Battery life is rated at up to 5 hours per charge, depending on listening levels, DAC usage, and headphone load.

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Both Audma amplifiers are priced at approximately $5000 USD and are available directly from Audma or through select distribution partners.

The Bottom Line

Audma is chasing something most headphone brands only nibble at from the edges. By moving spatial processing into the amplification stage, ELISA offers a level of control over stage width, depth, and positioning that goes well beyond typical crossfeed. It’s clever, and in the right setup, it works.

The problem is the price of entry. At around $5000, you’re being asked to rethink your entire signal chain for an effect that some headphones, like the Grell OAE2, already attempt to deliver for well under $500. No, they don’t offer the same level of adjustability or precision, but the gap in cost is hard to ignore.

If ELISA delivers on its promise in a controlled environment, Audma might be onto something genuinely different. But at this level, different isn’t enough. It has to be indispensable.

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For more information: audma.it

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