If you’re in need of a budget-friendly pair of wireless earbuds that don’t skimp on features then look no further than the Pixel Buds 2a.
These wireless earbuds Pixel Buds 2a were designed with one specific goal in mind: to provide a compact, lightweight pair of earbuds that you can adjust to suit your needs.
For instance, despite the Pixel Buds 2a weighing a mere 4.3g each, Google’s included active noise cancellation within the design to filter out any unwanted background noise in favour of what you’re hearing through the buds.
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The ANC is surprisingly effective for such a budget device, but it can be evened out to meet your preferences.
The buds themselves have a lightweight and comfortable fit, easily slipping into the contours of your ears . They even boast a degree of water resistance so you can feel confident in wearing them in light showers or during a tough workout.
You can even use a Pixel phone to can get real-time Google Assistant updates on your commute, or have some relaxing music to listen to when you’re trying to drown out the sound of London Underground.
And because these pods integrate with Google’s Gemini voice assistant, you don’t need to reach for your phone when controlling the Pixel Buds 2a either. Want to change the song? Just ask Gemini to do it. Need to turn up the volume? Again, Gemini has you covered.
Battery life is also competitive here, with up to 20-hours when ANC is engaged, so you’ll always be set to get you through a day’s work.
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They might not have quite the same level of feature parity with Apple’s AirPods, but for what the Pixel Buds 2a offer, they’re a better buy for users of the Google ecosystem.
Google has unexpectedly launched the Pixel 10a, and the timing of the release feels unusual this time around. Pre-orders begin on February 18, 2026, far sooner than the Pixel 9a last year, which is perhaps all the more remarkable because it is a trend that will most certainly continue. Google announced the news with a brief YouTube teaser, giving everyone a proper look at the new phone. However, this one feels more like a solid stride forward than a radical reinvention.
At first glance, the teaser appears to follow the current A-series template, but with one change that makes a significant difference: the dual rear cameras are now flush with the back panel, with no raised bump in the way. That means the phone can sit perfectly flat on a table without moving about. Google emphasizes this difference in the video, and it’s likely the only thing you notice when glancing at the phone. The traditional pill-shaped camera housing is still horizontal, with a small LED flash and the Google logo peeking out the bottom. The rounded corners and flat metal edges make the whole item very comfortable to grip, and the matte coating should repel fingerprints far better than a glossy finish.
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The color options are actually rather exciting, as Google showcases a soft lavender shade in the teaser, which is a really pleasant, muted blue-purple color that I believe is a better over the Iris color from last year’s Pixel 9a. According to what we’ve heard so far, those aren’t the only alternatives; there might be a deep black (called Obsidian), a lively red (Berry), and a clean white or light grey (Fog). The aim is that these colors will offer purchasers a sense of personality without being overly bright or wild. That specific blue-purple color looks especially good when the light hits it, since it makes the phone feel like a high-end product that punches beyond its weight.
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Performance expectations are all about building on the foundation laid by the Pixel 9 series, as many reports indicate that the Tensor G4 chip will power the device, and while there are some whispers about a slightly faster version with higher clock speeds to try and improve performance and thermal management, at the end of the day, it’s likely to be a very similar setup to what we’ve seen before, paired with 8GB of RAM. Of course, it should still be able to manage all of your daily chores, some multitasking, and Google’s growing suite of AI features without blinking an eye. Storage options will most likely remain 128GB and 256GB, which may not be the most exciting news for those in need of more storage capacity, but it will be sufficient for the majority of customers.
The display remains 6.3 inches with a 120Hz refresh rate and FHD+ resolution, which is nearly identical to the Pixel 9a. Smoother scrolling and sensitive touch remain priority concerns, and I expect the display to look brilliant in almost any lighting scenario. The battery capacity is likely to be about 5,100mAh, which has routinely provided all-day durability in A-series models. I believe we can still expect fast charging and wireless charging support to round out the package.
The camera hardware follows a fairly common pattern, with a 48 megapixel primary sensor paired with a 13 megapixel ultrawide lens on the back, a combination seen on a variety of phones. Meanwhile, a 13 megapixel selfie camera handles portraits and video calls, but as usual, Google’s computational photography is what actually makes the difference, transforming somewhat ordinary photos into extremely detailed and balanced shots even in difficult lighting settings. You’ll also get extras like Magic Editor and Best Take, as well as some intriguing new Gemini-powered features that will be available for you straight out of the box, implying that the phone’s capabilities will sometimes appear to be ahead of its real hardware specs.
Pricing isn’t official yet, but all indications are that it will start at $499 for the 128GB model, which coincides with the price of the Pixel 9a. If we trust the leaks coming out of Europe, we’re looking at around €549, which is roughly equivalent to what they charge in the United States. Adding another 256GB to the mix could cost you an additional $50-100, depending on where you live.
At a recent demo event, Nintendo gave me and some peers the chance to try the new Super Mario Bros. Wonder – Nintendo Switch 2 Edition + Meetup in Bellabel park, which adds a litany of new features that make multiplayer mode a whole lot more fun and launches the game firmly into my best Nintendo Switch 2 games list.
Growing up as an only child, you can develop a real penchant for party games. Sure, you can only play them when your pals come over or with your parents under duress, but being that kid who has cool multiplayer games at home softens the blow of terminal loneliness.
Just me? Fine, but at the very least, you can’t deny that Nintendo has more often than not had it made when it comes to multiplayer gaming. From Mario Kart to Super Smash Bros., Splatoon to Wii Sports, most of my formative memories of multiplayer gaming exist thanks to Nintendo.
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That’s why the hit-or-miss nature of Nintendo’s more recent party games can feel so disappointing, and the regular Super Mario Bros. Wonder certainly fell into this category for those who wanted to play with friends in private online multiplayer rooms or who found couch co-op’s quirks too frustrating to navigate. With its litany of multiplayer features, the Nintendo Switch 2 finally unlocks the full potential of Mario Wonder.
New ways to play
(Image credit: Nintendo)
I spent half an hour playing with industry peers, and while it was chaotic to say the least, Super Mario Bros. Wonder + Meetup in Bellabel Park breathes life into a game I’d personally written off. I enjoyed dabbling in the single-player campaign and found the Mario Kart-esqueghost online play charming, but it never felt like a must-have game to me.
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The new expansion adds not only enhanced graphics and gameplay improvements to the game; there’s a whole new area called Bellabel Park, which will be your de facto social hub to play a range of minigames and generally wreak havoc upon the Flower Kingdom.
There are two main plazas for Local Multiplayer and Game Room setups, allowing you to play with up to four players locally in competitive or co-operative minigames across 17 attractions, or you can play six attractions across multiple systems online with eight players locally or twelve online.
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This is where we spent our demo experience, trying out new games added in the expansion. Particularly chaotic and fun was a minigame which saw two players frantically drawing platforms using mouse mode for the others to progress through the level and defeat enemies.
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Others saw us playing an equally chaotic round of Phanto Tag, wherein players could transform into and hide among flowers, or racing to collect apples to feed our baby Yoshi – there’s even a co-operative hot potato-style minigame that we miserably failed at.
(Image credit: Nintendo)
We didn’t get to try many of the remote online play games, but worth highlighting in the rocket race we did try is that it opted for the same “ghost” player mechanic as the regular game’s online play. It’s probably safe to bet this will be the same across non-local games, but at least in this case, it made sense; in a race setting, you don’t really want the viewscreen to be confined to a small section of the map alongside competitors.
The fun doesn’t end there; as well as the new Bellabel Park area, up to four people will be able to play with Toad Brigade Training Camp in Camp Central, which challenges players to tackle quests in the main game’s courses. Completing these challenges will raise your Brigade Member Rank and unlock new patches. There’s even a new hide-and-seek side quest, in which you’ll seek out and battle the Koopalings to reclaim stolen Bellabel flowers.
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Plus, Rosalina fans will rejoice as the character will be fully playable across all game modes, accompanied, of course, by Lum, who can also be played as a support character and controlled by – you guessed it – mouse mode. It’s a great addition to help younger or less experienced players join in the fun, and with the new Assist mode, which reduces the perils of levels, Super Mario Bros. Wonder really does feel like fun for all ages.
How to use Nintendo Switch 2 GameShare and GameChat – YouTube
So, why now are we getting the multiplayer game room so many felt Super Mario Bros. Wonder so sorely needed? In part, it’s thanks to the hardware and software added to the Nintendo Switch 2.
Much like Super Mario Party Jamboree + Jamboree TV, Super Mario Wonder + Meetup in Bellabel Park is fundamentally a showcase for what is possible using the Switch 2. GameShare allows more players to join locally without needing the game themselves, mouse mode opens up new ways to play, and GameChat will make playing online with friends much more enjoyable.
However, if you’ve tried the Super Mario Party Jamboree + Jamboree TV Switch 2 Edition,you’ll know the added content wasn’t integrated as gracefully as it perhaps could have been. I wasn’t able to see how, if at all, that integration was handled in Super Mario Bros. Wonder + Meetup in Bellabel Park, which may well be the deciding factor on whether multiplayer mode is worth the upgrade for some players.
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That being said, even just in the addition of Rosalina, there’s at least some new content for the main game, unlike Super Mario Party Jamboree + Jamboree TV, and that already makes it feel more worthwhile to upgrade – or to buy the game outright if, like me, you haven’t already.
On the surface level, from what I’ve played, I like the freedom to choose minigames and the generally unstructured experience makes it great for a few quick rounds when you’re hanging out with friends and family.
If nothing else, it’s definitely made me reconsider my nonchalance towards Super Mario Bros. Wonder in general. Is it worth the $19.99 / £16.99 upgrade? Time will tell, so make sure to check back in once our full review is live after the game releases on March 26.
And of course, you can also follow TechRadar on YouTube and TikTok for news, reviews, unboxings in video form, and get regular updates from us on WhatsApp too.
Spain’s Ministry of Science (Ministerio de Ciencia) announced a partial shutdown of its IT systems, affecting several citizen- and company-facing services.
Ministerio de Ciencia, Innovación y Universidades is the Spanish government body responsible for science policy, research, innovation, and higher education.
Among others, it maintains administrative systems used by researchers, universities, and students that handle high-value, sensitive information.
The Ministry stated that the decision was in reaction to a “technical incident,” but did not provide additional details. However, a threat actor is claiming an attack on the institution’s systems and published data samples as proof of the breach.
“As a result of a technical incident currently under assessment, the electronic headquarters of the Ministry of Science, Innovation and Universities has been partially closed,” reads an announcement on the main page of the ministry’s website.
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“All ongoing administrative procedures are suspended, while safeguarding the rights and legitimate interests of all persons affected by this temporary closure.”
Notice on the Ministry’s website Source: BleepingComputer
To mitigate the impact of the disruption, the Ministry will extend all deadlines for affected procedures, in accordance with Article 32 of Law 39/2015.
A threat actor using the alias ‘GordonFreeman’ from the Half-Life game title offered to the highest bidder data allegedly stolen from the Spanish ministry.
The alleged hacker leaked on underground forums data samples that include personal records, email addresses, enrollment applications, and screenshots of documents and other official paperwork.
The threat actor states that they breached Spain’s Ministry of Science by exploiting a critical Insecure Direct Object Reference (IDOR) vulnerability that gave them valid credentials for “full- admin-level access.”
It’s worth noting that the forum where the information appeared is now offline, and the data has not appeared on alternative platforms yet.
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The leaked images appear legitimate, although BleepingComputer has no way to confirm their authenticity or any of the attacker’s other claims. We have contacted Ministerio de Ciencia about these allegations, but a statement wasn’t immediately available.
Meanwhile, Spanish media outlets report that a ministry spokesperson confirmed that the IT systems disruption is related to a cyberattack.
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Since the middle of last year, there have been at least three major AI “acqui-hires” in Silicon Valley. Meta invested more than $14 billion in Scale AI and brought on its CEO, Alexandr Wang; Google spent a cool $2.4 billion to license Windsurf’s technology and fold its cofounders and research teams into DeepMind; and Nvidia wagered $20 billion on Groq’s inference technology and hired its CEO and other staffers.
The frontier AI labs, meanwhile, have been playing a high stakes and seemingly never-ending game of talent musical chairs. The latest reshuffle began three weeks ago, when OpenAI announced it was rehiring several researchers who had departed less than two years earlier to join Mira Murati’s startup, Thinking Machines. At the same time, Anthropic, which was itself founded by former OpenAI staffers, has been poaching talent from the ChatGPT maker. OpenAI, in turn, just hired a former Anthropic safety researcher to be its “head of preparedness.”
The hiring churn happening in Silicon Valley represents the “great unbundling” of the tech startup, as Dave Munichiello, an investor at GV, put it. In earlier eras, tech founders and their first employees often stayed onboard until either the lights went out or there was a major liquidity event. But in today’s market, where generative AI startups are growing rapidly, equipped with plenty of capital, and prized especially for the strength of their research talent, “you invest in a startup knowing it could be broken up,” Munichiello told me.
Early founders and researchers at the buzziest AI startups are bouncing around to different companies for a range of reasons. A big incentive for many, of course, is money. Last year Meta was reportedly offering top AI researchers compensation packages in the tens or hundreds of millions of dollars, offering them not just access to cutting-edge computing resources but also … generational wealth.
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But it’s not all about getting rich. Broader cultural shifts that rocked the tech industry in recent years have made some workers worried about committing to one company or institution for too long, says Sayash Kapoor, a computer science researcher at Princeton University and a senior fellow at Mozilla. Employers used to safely assume that workers would stay at least until the four-year mark when their stock options were typically scheduled to vest. In the high-minded era of the 2000s and 2010s, plenty of early cofounders and employees also sincerely believed in the stated missions of their companies and wanted to be there to help achieve them.
Now, Kapoor says, “people understand the limitations of the institutions they’re working in, and founders are more pragmatic.” The founders of Windsurf, for example, may have calculated their impact could be larger at a place like Google that has lots of resources, Kapoor says. He adds that a similar shift is happening within academia. Over the past five years, Kapoor says, he’s seen more PhD researchers leave their computer-science doctoral programs to take jobs in industry. There are higher opportunity costs associated with staying in one place at a time when AI innovation is rapidly accelerating, he says.
Investors, wary of becoming collateral damage in the AI talent wars, are taking steps to protect themselves. Max Gazor, the founder of Striker Venture Partners, says his team is vetting founding teams “for chemistry and cohesion more than ever.” Gazor says it’s also increasingly common for deals to include “protective provisions that require board consent for material IP licensing or similar scenarios.”
Gazor notes that some of the biggest acqui-hire deals that have happened recently involved startups founded long before the current generative AI boom. Scale AI, for example, was founded in 2016, a time when the kind of deal Wang negotiated with Meta would have been unfathomable to many. Now, however, these potential outcomes might be considered in early term sheets and “constructively managed,” Gazor explains.
If you have a certain nostalgia for the warmth and saturation of the sound of cassettes, the We Are Rewind WE-001 is a fine choice. It looks lovely in the bright orange colourway, plus modern conveniences such as a USB-C rechargeable battery and Bluetooth connectivity are welcome to bring it into the 21st century. Granted, it doesn’t sound as great as modern streaming does, but then again, that’s not the point, and if you’re considering the WE-001, you know that already.
Hefty aluminium chassis
Bluetooth pairing is easy, and works decently well
The warmth and saturated feel of a cassette has a strange appeal
Not the most portable of players
No auto-stop function is a shame
Key Features
It plays cassettes
A modern way of playing albums, or your old mixtapes
Bluetooth 5.1
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You can wirelessly stream to a set of headphones or a speaker
Introduction
The We Are Rewind WE-001 seeks to provide a modern outlet for the resurgence of cassettes that’s currently happening.
In the UK, cassette sales soared to a 20-year high in 2025, with a total sales volume of 164,000 units, making now a good time to pick up a cassette player to play them on.
There are folks who have modernised the cassette player with features such as a built-in battery, USB-C charging and even Bluetooth connectivity. French firm We Are Rewind are one of the frontrunners with this fetching WE-001 model.
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At £129 / $159, the WE-001 has a reasonable cost to it, and draws two immediate comparisons. For one, it sits close to what you’d pay for a second-hand Walkman; and secondly, it’s not too far off capable budget music players, including the five-star FiiO JM21 and HiBy R3 II.
Is this player from We Are Rewind a novelty item? I’ve dug out some cassettes and put it through its paces to find out.
Design
Hefty aluminium frame
Fetching orange colourway
Tactile controls
The WE-001 is a bit big in weight and size, tipping the scales at 404g, and significantly bigger than the last run of cassette players when the likes of Sony were manufacturing them.
Part of the reason this We Are Rewind player is so large is that there’s only one real cassette mechanism available these days from one supplier, and if you want to build a modern cassette player, it’s the only one to use.
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Image Credit (Trusted Reviews)
Another reason it’s as big as it is because the design of this orange lad is based on Sony’s first-ever Walkman cassette player – the TPS-L2 – from 1979. Where Sony’s was plastic, the WE-001 is aluminium, contributing both to a quality feel in-hand and to its heavyweight nature.
There’s a pleasant We Are Rewind logo on the front, plus a small circular window in the door that you have to manually open from the top. The old Sony it’s based on had a rectangular window, for what it’s worth. On the top side are the cassette player’s controls, which are oddly the wrong way around as you look at the player, as indicated by the play button triangle facing to the right, so you have to turn the unit around.
Image Credit (Trusted Reviews)
The controls from left to right in the correct orientation are as follows – battery and Bluetooth pairing indicator LEDs, a Bluetooth pairing button, a yellow record button, play, rewind, fast forward and stop. The buttons aren’t soft-touch and have a pleasant tactile finish when pressed
The right side houses the WE-001’s ports, with a USB-C port for charging (charging only, and no power for an external USB-C DAC such as the iFi Go Link Max for listening to higher power wired headphones), two 3.5mm headphone jacks – one for recording and the other for listening, plus a volume wheel. The rear of the unit also has a small hole for motor speed adjustment.
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Image Credit (Trusted Reviews)
It looks fetching in the ‘Serge’ orange colour (named for Serge Gainsbourg) I have, although is available in ‘Kurt’ (Cobain – light blue) and ‘Keith’ (Richards – black) colours if you prefer, plus special editions for Elvis and Duran Duran in more recent times.
Specification
Bluetooth 5.1 support with no specific codec mentioned
Headphone jack is suitable for easy-to-drive, low impedance cans
Reasonable battery life
The WE-001’s spec sheet is threadbare, but there are some things worth talking about. It works with all kinds of cassettes, with Type I through IV all supported. Any tapes you have should be okay, all being well.
The cassette player features a 30Hz to 12500Hz frequency range, and supports Bluetooth 5.1. No specific codec support is listed whether it’s SBC or AAC, or even something more advanced, such as aptX HD. Quite frankly, the fact that it supports Bluetooth in any guise seems like a bit of a novelty, but it paired okay with both my Focal Bathys and Audio Pro C10 MKII during testing.
Image Credit (Trusted Reviews)
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The spec sheet is also very specific about this cassette player not being ‘compatible’ with earbuds, although I also used a pair of FiiO FH19 IEMs with the WE-001 and they worked fine. Maybe it goes against We Are Rewind’s advice, but I am a rebel at heart.
The output of the headphone jack isn’t powerful, with 2mW per channel into 32 ohms, making this We Are Rewind cassette player suitable for easy-to-drive headphones, rather than more difficult ones that would usually need their own amp or DAC.
That being said, I did try to use a set of Drop x Sennheiser HD6XXs for a reference point, and they worked – I just had to turn the volume up a lot to get to a listenable volume. You’re better off going for easier-to-drive ones for a more optimal experience, though.
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Image Credit (Trusted Reviews)
As opposed to running on AA batteries as cassette players of old did, the WE-001 features its own built-in lithium ion battery that’s rechargeable. It has a 2000mAh capacity, and We Are Rewind quotes it for between ten and 12 hours on a charge. In my testing, that seems about right.
Performance
Warmer tones than streaming
Compression and saturation seem part of the experience
Auto-stop would have been nice
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Normally, when reviewing audio gear and such, it can be very easy to be analytical and scientific as to how a product sounds, with lots of jargon thrown around. I’m as guilty of that as the next man.
With the WE-001, though, it felt right to take a different approach for a key reason. Cassettes weren’t the be-all-and-end-all of fidelity when they were new, and using them again in 2026 is more of an experiential undertaking than a scientific one. Therefore, it warrants a different kind of perspective.
For testing, I took an album I know like the back of my hand (and ironically one of the only cassettes I own), an Abbey Road real-time cassette copy of Marillion’s Afraid of Sunlight that I suspect hasn’t been played for thirty years since the album’s release, and listened to it all the way through on the WE-001 on my Focal Bathys via the 3.5mm jack. I then listened to the original 1995 mix using my Honor Magic V3 and an iFi Go Link Max I had lying around over Tidal for a ‘modern’ equivalent.
Image Credit (Trusted Reviews)
Naturally, listening to it in digital results in a cleaner, more expansive recording than the analogue form a cassette takes. The apparent benefit of listening to cassette are the very shortcomings that caused us to move to hi-res digital music when the option became available – the warmth and saturation of an analogue sound, complete with some very slight tape hiss in the background.
It’s a completely different listening experience with Afraid of Sunlight on cassette to even CD or a streaming version due to the warmth of the medium. Granted, the soundstage isn’t too wide, and things can sound quite congested against listening on digital means, but there is a strange appeal to it.
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The WE-001 is quite a meaty player in itself, with its tuning prioritising some low end, even though it only goes down to 30Hz. The potent bass line on Cannibal Surf Babe and the gritty guitar lines are quite prominent throughout the track, suit the way this player sounds, and there was a strange satisfaction to listen to it in this compressed means. Maybe it’s the weird nostalgia for a medium I didn’t experience first time around talking, but it’s an interesting point.
Image Credit (Trusted Reviews)
It isn’t a fatiguing listen either, arguably due to some treble elements, such as cymbal hits and piano notes being smoothed over. This tape player doesn’t have any form of Dolby Noise Reduction built in, although I didn’t necessarily hear much in the way of tape hiss or speed variations with the Afraid of Sunlight tape, or another Abbey Road tape of Fish’s Vigil in a Wilderness of Mirrors.
What listening to cassettes in the way they were intended does is revive the linearity of music that I think has been lost with the age of instant access provided by streaming. If you went out and bought an album, that’s what you listened to, rather than getting bored with it halfway through and finding something else.
In addition, you purchased and owned an album for one price, and that’s what you had to listen to, rather than paying a monthly subscription fee for thousands of albums that you’re paying for the chance to listen to, as long as you keep payments rolling. Therefore, you were more inclined to listen to the full duration of what you’d spent hard-earned money on, which I think is slowly becoming a lost art. It’s nice to be reminded of that experience.
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Image Credit (Trusted Reviews)
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Maybe it’s because of my older-leaning tastes, but as much as I have a ridiculous playlist of several thousand songs on Spotify and Tidal that gets put on every so often, I do listen to music in album-sized chunks, which I know a lot of folks my age don’t. That workflow didn’t necessarily change when using this We Are Rewind player in my experience, but it just provided more of an analogue feel that I can partially see the appeal of.
One small nitpick I have with the WE-001 is the lack of an auto-stop for either fast-forwarding or rewinding when the cassette has reached either end of its tape, leading to a horrible motor whine from the internal mechanism. This would have been helpful for quality-of-life purposes and for safeguarding your tapes.
Should you buy it?
You want a feature-rich, portable cassette deck in 2026
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The We Are Rewind WE-001 is one of a handful of cassette players designed for the modern age, and I’d argue it’s the most stylish and convenient.
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You don’t necessarily have any reason to listen to cassettes
You obviously need some form of reason for going back and listening to cassettes, and even if you’re curious, I’d probably still stick to other means for absolute fidelity if it were me.
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Final Thoughts
If you have a certain nostalgia for the warmth and saturation of the sound of cassettes, the We Are Rewind WE-001 is a fine choice. It looks lovely in the bright orange colourway, plus modern conveniences such as a USB-C rechargeable battery and Bluetooth connectivity are welcome to bring it into the 21st century.
Granted, it doesn’t sound as great as modern streaming does, but then again, that’s not the point, and if you’re considering the WE-001, you know that already.
Similar money can buy you some lovely digital audio players and potent headphone outputs, such as the FiiO JM21 and HiBy R3 II, both of which I own and use on a daily basis for having such a large local music library, and having a separate device for listening to music that won’t be interrupted by an onslaught of notifications.
But if you want the fun and nostalgia of a cassette above all and the freedom to connect it to modern equipment, this is a fun device above all. And we do need some more of that.
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How We Test
I tested the We Are Rewind WE-001 for a week, listening to a selection of cassette albums and comparing to the modern equivalent. I used a range of headphones, over- and in-ear, and connected the player to a Bluetooth speaker to judge playback quality.
Tested for a week
Tested with real-world use
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FAQs
What types of cassettes does the We Are Rewind WE-001 support?
The We Are Rewind WE-001 supports all types of cassette, with Type I through IV all supported.
New chips, not new designs, will define Apple’s next entry-level iPad and iPhone 17e as the company advances its entry-level lineup incrementally.
The iPhone 17e may well look exactly like its predecessor
A report from MacOtakara published on February 6 says Apple plans to keep the current designs for both devices while upgrading their processors. The report reinforces a familiar pattern in Apple’s lineup, where entry-level models advance through internal improvements rather than visible redesigns. MacOtakara is a long-running Apple rumor site with solid supply-chain access and a track record that, while mixed, is generally reliable. Rumor Score: 🤔 Possible Continue Reading on AppleInsider | Discuss on our Forums
On Wednesday, OpenAI CEO Sam Altman and Chief Marketing Officer Kate Rouch complained on X after rival AI lab Anthropic released four commercials, two of which will run during the Super Bowl on Sunday, mocking the idea of including ads in AI chatbot conversations. Anthropic’s campaign seemingly touched a nerve at OpenAI just weeks after the ChatGPT maker began testing ads in a lower-cost tier of its chatbot.
Altman called Anthropic’s ads “clearly dishonest,” accused the company of being “authoritarian,” and said it “serves an expensive product to rich people,” while Rouch wrote, “Real betrayal isn’t ads. It’s control.”
Anthropic’s four commercials, part of a campaign called “A Time and a Place,” each open with a single word splashed across the screen: “Betrayal,” “Violation,” “Deception,” and “Treachery.” They depict scenarios where a person asks a human stand-in for an AI chatbot for personal advice, only to get blindsided by a product pitch.
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Anthropic’s 2026 Super Bowl commercial.
In one spot, a man asks a therapist-style chatbot (a woman sitting in a chair) how to communicate better with his mom. The bot offers a few suggestions, then pivots to promoting a fictional cougar-dating site called Golden Encounters.
In another spot, a skinny man looking for fitness tips instead gets served an ad for height-boosting insoles. Each ad ends with the tagline: “Ads are coming to AI. But not to Claude.” Anthropic plans to air a 30-second version during Super Bowl LX, with a 60-second cut running in the pregame, according to CNBC.
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In the X posts, the OpenAI executives argue that these commercials are misleading because the planned ChatGPT ads will appear labeled at the bottom of conversational responses in banners and will not alter the chatbot’s answers.
But there’s a slight twist: OpenAI’s own blog post about its ad plans states that the company will “test ads at the bottom of answers in ChatGPT when there’s a relevant sponsored product or service based on your current conversation,” meaning the ads will be conversation-specific.
The financial backdrop explains some of the tension over ads in chatbots. As Ars previously reported, OpenAI struck more than $1.4 trillion in infrastructure deals in 2025 and expects to burn roughly $9 billion this year while generating about $13 billion in revenue. Only about 5 percent of ChatGPT’s 800 million weekly users pay for subscriptions. Anthropic is also not yet profitable, but it relies on enterprise contracts and paid subscriptions rather than advertising, and it has not taken on infrastructure commitments at the same scale as OpenAI.
In late 2022, when generative AI tools landed in students’ hands, classrooms changed almost overnight. Essays written by algorithms appeared in inboxes. Lesson plans suddenly felt outdated. And across the country, schools asked the same questions: How do we respond — and what comes next?
Some educators saw AI as a threat that enables cheating and undermines traditional teaching. Others viewed it as a transformative tool. But a growing number are charting a different path entirely: teaching students to work with AI critically and creatively while building essential literacy skills.
The challenge isn’t just about introducing new technology. It’s about reimagining what learning looks like when AI is part of the equation. How do teachers create assignments that can’t be easily outsourced to generative AI tools? How do elementary students learn to question AI-generated content? And how do educators integrate these tools without losing sight of creativity, critical thinking and human connection?
Recently, EdSurge spoke with three educators who are tackling these questions head-on: Liz Voci, an instructional technology specialist at an elementary school; Pam Amendola, a high school English teacher who reimagined her Macbeth unit to include AI; and Brandie Wright, who teaches fifth and sixth graders at a microschool, integrating AI into lessons on sustainability.
EdSurge: What led you to integrate AI into your teaching?
Amendola: When OpenAI’s ChatGPT burst onto the scene in November 2022, it upended education and sent teachers scrambling. Students were suddenly using AI to complete assignments. Many students thought, Why should I complete a worksheet when AI can do it for me? Why write a discussion post when AI can do it better and faster?
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Our education system was built for an industrial age, but we now live in a technological age where tasks are completed rapidly. Learning at school should be a time of discovery, but education remains stuck in the past. We are in a place I call the in between. In this place, I discovered a need to educate students on AI literacy alongside the themes and structure of the English language.
I reimagined my Macbeth unit to integrate AI with traditional learning methods. I taught Acts I-III using time-tested approaches, building knowledge of both Shakespeare and AI into each act. In Act IV, students recreated their assigned scenes using generative AI to make an original movie. For Act V, they used block-based programming to have robots act out their scenes. My assessment had nothing to do with writing an essay, so it was uncheatable. I encouraged students to work with me to design the lesson so I could determine the best way to help them learn.
Voci: Last fall, I was in a literacy meeting with administrators and teachers where I heard concerns about the new science of reading materials not engaging students’ interest. While the books were highly accessible, students had no interest in reading them. This was my lightbulb moment. If we could use AI tools to develop engaging and accessible reading passages for students, we could also teach foundational AI literacy skills at the same time.
This is where The Perfect Book Project was born. Students work with teachers to develop their own perfect reading book that is both engaging and accessible, learning literary skills alongside how to work with and evaluate AI-generated content. In its pilot, I worked directly with teachers as students conceptualized, drafted, edited and published their books. I spent hundreds of hours creating prompts with content guardrails, accessibility constraints and research-based foundational literacy knowledge to guide students and teachers through the process.
Wright: I’m doing quite a bit of work around the U.N. Sustainable Development Goals, teaching our explorers the impact of our actions not just on ourselves but also on others and the environment. I wanted to see them use AI to deepen their knowledge and serve as a thought partner as they develop solutions to issues like climate change.
I created a lesson called “Investigating Energy Efficiency and Sustainability in Our Spaces.” The explorers went on a sustainability scavenger hunt around campus to find examples of energy-efficient items and sustainable practices. They used AI tools to analyze their findings, interpret and evaluate AI responses for accuracy and potential bias, and reflect on how technology and human decisions work together to create sustainable solutions. The AI in this lesson wasn’t about the tools they used, but more about how AI is viewed in the context of what they are learning.
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What shifts in student learning did you observe?
Voci: One eye-opening moment was during my first lesson on hallucinations and bias with a third grade class. After introducing the concepts at a developmentally appropriate level, I had them reread their manuscripts through the lens of an AI hallucination and bias detective. It didn’t take long for the first student to find the first hallucination. There was incorrect scoring in a football game. AI counted a touchdown as one point. One student’s hand flew up; he was so excited to explain to me and the class how the model had incorrectly scored the game.
This discovery lit a fire under the rest of the class to begin looking more closely at every word of their text and not take it at face value. The class went on to find more hallucinations and discover some generalizations that did not represent their intentions.
Wright: I saw the explorers develop their critical thinking as they asked questions about how AI was used, how AI makes its decisions and whether this affects the environment. I truly appreciate that this age group holds onto their creativity and imagination. They don’t want AI to do the creating for them. They still want to draw their own pictures and tell their own stories.
Amendola: It was uncomfortable for my honors students to try something new. They were out of their element and craved the structure of the rubric. I had to let go of traditional grading structures first before I could help them embrace the ambiguity. Their willingness to explore and make mistakes was wonderful. The collaboration helped create a sense of class community that resulted in learning a new skill.
What’s your advice for educators hesitant to explore AI?
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Amendola: Don’t be afraid to try new things. Keep in mind that the greatest success first requires a change of mindset. Only then can you open the doors to what generative AI can do for your students.
Voci: Don’t let the fear, weight and speed of AI advancement paralyze you. Find small, intentional steps that are grounded in human-centered values to move forward with your own knowledge, and then find ways to connect your new knowledge to support student learning. In this age of AI, we need to give our fellow educators the same resources, scaffolding and grace.
Wright: Jump in!
Join the movement at https://generationai.org to participate in our ongoing exploration of how we can harness AI’s potential to create more engaging and transformative learning experiences for all students.
X is experimenting with a new way for AI to write Community Notes. The company is testing a new “collaborative notes” feature that allows human writers to request an AI-written Community Note.
It’s not the first time the platform has experimented with AI in Community Notes. The company started a pilot program last year to allow developers to create dedicated AI note writers. But the latest experiment sounds like a more streamlined process.
According to the company, when an existing Community Note contributor requests a note on a post, the request “now also kicks off creation of a Collaborative Note.” Contributors can then rate the note or suggest improvements. “Collaborative Notes can update over time as suggestions and ratings come in,” X says. “When considering an update, the system reviews new input from contributors to make the note as helpful as possible, then decides whether the new version is a meaningful improvement.”
X doesn’t say whether it’s using Grok or another AI tool to actually generate the fact check. If it was using Grok, that would be in-line with how a lot of X users currently invoke the AI on threads with replies like “@grok is this true?”
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Community Notes has often been criticized for moving too slowly so adding AI into the mix could help speed up the process of getting notes published. Keith Coleman, who oversees Community Notes at X, wrote in a post that the update also provides “a new way to make models smarter in the process (continuous learning from community feedback).” On the other hand, we don’t have to look very far to find examples of Grok losing touch with reality or worse.
According to X, only Community Note Contributors with a “top writer” status will be able to initiate a collaborative note to start, though it expects to expand availability “over time.”
Amazon has refreshed its Fire TV lineup in the UK, with three new ranges available to buy right now.
The updated Fire TV 2-Series, Fire TV 4-Series, and Fire TV Omni QLED promise slimmer designs, faster performance and smarter picture tech. All of this is aimed at getting you to your shows quicker.
Leading this current crop is the Fire TV Omni QLED, available in 50-, 55- and 65-inch sizes. Amazon says the new panel is 60% brighter than previous models, with double the local dimming zones for punchier highlights and deeper blacks. Dolby Vision and HDR10+ Adaptive are on board. In addition, the TV can automatically adjust colour and brightness based on your room lighting.
The Omni QLED also leans heavily into smart features. OmniSense uses presence detection to wake the TV when you enter the room and power it down when you leave. Meanwhile, Interactive Art reacts to movement, turning the screen into something closer to a living display than a black rectangle on the wall.
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Further down the range, the redesigned Fire TV 2-Series and Fire TV 4-Series cover screen sizes from 32 to 55 inches. The 2-Series sticks to HD resolution, while the 4-Series steps up to 4K. Both benefit from ultra-thin bezels and a new quad-core processor that Amazon says makes them 30% faster than before. It’s a modest upgrade on paper. However, it is one that should make everyday navigation feel noticeably snappier.
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All three ranges run Fire TV OS, with Amazon continuing to push its content-first approach. It surfaces apps, live TV and recommendations as soon as you turn the screen on.
The new Fire TV models are available now in the UK, with introductory pricing running until 10 February 2026:
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With faster internals and a brighter flagship model, Amazon’s latest Fire TVs look like a solid refresh, especially if you’re after a big screen without a premium TV price tag.