At £399 / $499, the Sennheiser HDB 630 are one of the best wireless headphones. They won’t be for everyone given their audiophile ambitions, and they’re beaten for ANC and call quality, but if you prioritise sound above all else, you should give these headphones a listen.
Comfortable to wear
Impressive levels of insight and detail for the money
Strong noise-cancellation
Long battery life
That Bluetooth dongle
Plain appearance
Beaten for ANC
Average call quality
Key Features
Parametric EQ
Finesse the sound with the flexible Parametric EQ
Crossfeed
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Blend the left/right channels for a more natural sound
BTD 700 dongle
USB-C dongle that upgrades Bluetooth sound quality
Introduction
Sennheiser refers to its HDB 630 wireless over-ears as “audiophile sound cut loose”, which sets up high expectations, but if there’s an audio brand that can deliver on those expectations, it would be Sennheiser.
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Wireless headphones have always been seen the awkward sibling in the audiophile world compared to wired headphones. The use of Bluetooth, the potential for connection pratfalls, along with noise-cancellation (which can affect sound) – go against the purity of performance a wired headphone can offer.
Sennheiser, with its HDB 630, wants to rectify this. It’s not the first brand to have designs on the audiophile listener, but it’s one of few to try and aim for a reasonable price, plus deliver a high quality noise-cancelling experience.
Like the Momentum 4 Wireless before it (still available at a killer price, I should add); these headphones aren’t aesthetic pleasers. The only clearly difference between the Momentum 4 Wireless and the HDB 630, is the silver linkages that connect the headband and earcups. Fancy dan headphones these aren’t.
But, given that these are for the audiophile and not for the casual audience, its plain, anonymous looks can be forgiven. Like many of Sennheiser’s recent headphones, the focus has been on ergonomics rather than standout looks.
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In that regard, Sennheiser has met the mark as they are comfy to wear. Sometimes the left earcup can be a bit tight, but a few adjustments is all that’s required to sort that issue out. The clamping force isn’t too tight despite the headphones sitting firm against my temple, the soft earpads offering a cushy point of contact.
It’s not necessarily a plush, luxurious feel but it gets the job done with minimum fuss. Compared to the more expensive Bowers & Wilkins Px8 S2, they feel comfier.
The headband is sturdy without causing undue pressure. There’s an adjustable slider if the fit isn’t suited, though interestingly, the HDB 630 doesn’t have the fabric cover the Momentum 4 Wireless did, making it look plainer and more inconspicuous. It would have been nice if the premium sound was matched by premium looks.
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The carry case that comes with the headphones is thicker and slightly bigger, with more pockets to keep stuff stowed away with its multiple cables and adapters. They don’t fold either, so if you want to keep them safe from scuffs and marks, into the carry case they go.
The arrangement of physical buttons is the same, but the HDB 630 relies on touch controls and swipes. They’re not always the most precise as there have been a few times when swipes seem to register but nothing happens. It’s still an area that needs improvement.
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There’s only one finish – black – which adds to the audiophile feel of the Sennheiser HDB 630. It also comes with a dongle, which allows for higher quality audio over a Bluetooth connection. It’s something I think more headphone brands should include to get past the restrictions of some restrictive ecosystems but I’d have liked a Wi-Fi connection like the AKG N9 headphones offer.
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Features
Smart Control Plus app
Parametric EQ
BTD 700 Bluetooth dongle
There are a host of features tucked away in the Smart Control Plus app. Visually it’s the same, and it operates the same way as the original Smart Control app, with a couple of features that aren’t present in the original version.
Those include the Parametric EQ, which offers much finer control of frequency boosts and cuts than a standard graphic EQ. If you know what you’re doing you can mould the sound with more precision and hear the effects in real-time.
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There is access to EQ presets if you’re not the type to fiddle around with settings, as well as Sound Check where you play music and are presented with options to tune the sound. Perhaps it’s me, but I can’t hear much, if any difference between the options. Bass boost and Podcast sound modes are included too.
The Crossfeed feature allows you to blend the left and right channels, and the effect is so simple and I find worth enacting to see if you like it. You can control the noise-cancellation (more on that later), customise the controls and the overall performance with features such as Head Detection, Smart Pause, and Comfort Calls, which apparently gives calls a more “natural sound stage”.
Sound Zone is not too dissimilar from the Adaptive Sound Control in Sony’s Sound Connect app. It automatically changes ANC and audio presets depending on your location, and you can create up to twenty of these Sound Zones, which could include places such as your workplace, home, college etc. Set them up and the headphones will do it all for you (but you do need Location enabled).
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The Bluetooth dongle (or BTD 700) is perhaps the most interesting feature. The potential it offers is quite large as you can use, say, an Apple iPad Pro, and with the USB-C adapter bless it with the ability to play audio over an aptX Adaptive Bluetooth connection.
The USB-C handles the audio side, transmits it to your headphones, and presents what would have been AAC audio in higher fidelity. You can connect it to your personal laptop, a non-aptX compatible smartphone – whatever audio device that has a USB-C but no wireless high-res audio support.
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It can be a bit stubborn, though.
Initially I had no problems connecting my laptop to the BTD 700 dongle. Connecting to another laptop and the dongle wasn’t having it. Re-pairing and resetting didn’t work but eventually restarting the laptop was all that was needed to give it a kickstart.
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You can use the smart control app on a mobile device while the headphones are connected to another device via the dongle, but I couldn’t hear changes I made on the app reflected in the headphones, so I can’t say with confidence that it has any effect. There’s no Windows or Mac desktop version of the app, which seems a slight oversight on Sennheiser’s behalf.
It’s also worth noting that even though the Sennheiser HDB 630 supports Bluetooth multipoint, the BTD 700 dongle isn’t a separate connection. If you have three devices and the dongle is one of them, you’ll have to make sure it’s selected to hear any sound.
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Bluetooth is supported up to the aforementioned aptX Adaptive, but the HDB 630 hasn’t abandoned wired listening with USB-C and 3.5mm audio cables included (as well as a decent in-flight adapter). The wireless performance mirrors that of the Momentum 4 Wireless – the signal doesn’t break but you can hear the soundstage shrink slight when it comes across wireless interference.
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Noise-cancellation
Wind noise reduction
Transparency mode
Adaptive ANC
The noise-cancelling performance is an improvement on the Momentum 4 Wireless, especially when dealing with lower frequencies. However, compared to the Sony WH-1000XM6 and the Sony is a fraction quieter overall.
The Bose QuietComfort Ultra Headphones Gen 2 are better too, suppressing noise with more confidence on an airplane. There’s an extra layer of noise that the Sony and Bose seem to deter that the Sennheiser lets in, but the difference is small rather than large.
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I have found the performance can fluctuate in real-world environments. Using them on public transport and they’re not as quiet as I had anticipated but they do get rid of most noises, and they cancel noise without producing that artificial sound that less expensive headphones do. They are stronger than more expensive pairs, like the Focal Bathys MG, and they’re better than the similarly priced Bowers & Wilkins PX7 S3
Wind noise is dealt with adequately – it’s optional to toggle on in the app, and while it won’t remove all wind noise, it’ll reduce any rustling and turbulence when it’s on. The transparency mode is also fine, not the clearest or most detailed, but clear enough to get a sense of your surroundings.
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Sadly, call quality is a disappointment. While the person on the other end could hear my voice, they also hear everything else. All the sounds around me were competing for attention, and the headphones struggle when it’s loud and noisy.
This is a common trait for headphones, but models like the Sony WH-1000XM6 cope with it better than the Sennheiser does.
Battery life
Up to sixty hours
Fast-charging support
One of the headline features about the Sennheiser Momentum 4 Wireless was its endurance. Up to sixty hours on a single charge and the HDB 630 reach similar levels, though this comes with a caveat I didn’t realise all those years ago. The sixty hours is when you’re listening to standard resolution audio…
Listening to wireless hi-res audio via the dongle, and it’s actually up to 45 hours. Always read the small print.
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Having carried out my battery drain test with the headphones set at 50%, and playing from a Spotify playlist shuffle, it took 3.5 hours for the headphones to drop to 90%. That’s a good performance, and granted the drops could be even less if I kept the test going, but that suggests a performance in the region of 35 to 40 hours – similar to the results I got from the Momentum 4 Wireless.
There’s fast charging support, with a ten minute drive providing seven hours of battery life.
Sound Quality
Balanced across the frequency range
Not the biggest bass performance
Airy, spacious soundstage
There’s no shortage of competition at this price. You got the Sony WH-1000XM6, Bowers & Wilkins Px7 S3 and Bose QuietComfort Headphones Ultra 2 all claiming to offer premium sound. How does the Sennheiser HDB 630 shake up? Pretty well.
The soundstage it paints is wide, with a clear, crisp approach to audio that brings clarity to voices. The sound is well balanced across the frequency range – not necessarily flat, but a neutrality that avoids the warmth and smoothness of the Momentum 4 Wireless.
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Compared to the older pair, the soundstage is bigger and wider, with the HDB 630 offering slightly more insight with vocals, though it comes across as a little more gentle at describing the lows. The bass is more articulate and clearer – in fact voices and instruments all sound clearer than they do on the Momentum 4 Wireless.
There is a change the soundstage as well, a different focus in terms of depth as the HDB 630 comes across as flatter. Is this good or bad? I’m not sure, but it retrieves and picks up detail better so consider it good.
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The highs are bright, sharp and clear and escape the smoothness that the Momentum 4 Wireless brought to highs. The older headphone sounded a little warmer, less detailed and clearer – the HDB 630 offers more insight.
The levels of insight are the biggest takeaway from the Sennheiser HDB 630’s performance, as well as sounding more natural. Frank Sinatra’s voice in Fly Me to the Moon has a crisper, more revealing tone; the double bass has more weight when it enters fray. The HDB 630 may not offer as much bass as the Momentum 4 Wireless, but the performance is more varied and articulate.
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A listen to Maye’s La Canción and the low frequencies are treated with more reverence, and some may prefer the Momentum 4 Wireless’ bass performance; but you do have the Parametric EQ at your disposal if you want to make changes.
When pitched against the PX7 S3, a pair of headphones that I thought were one of the best-sounding models of 2025, the Sennheiser can’t match its loudness and energy – it doesn’t have the drama, energy or spectacle of the PX7 S3.
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The PX7 S3 offer a hearty thump with the bass, with more power and solidity with the lows, but the soundstage isn’t as well organised as the Sennheiser, and the HDB 630 summons greater levels of insight.
The energy of the PX7 S3 can scramble detail while the gentle sound of the Sennheiser allows it to pick out the smaller details. Two different approaches, but I think I might prefer the Sennheiser if I wanted to hear everything, and the Bowers if I wanted to be entertained.
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And when faced against the Sony WH-1000XM6, the Sennheiser has better control over the high frequencies but in terms of detail across the frequency range, the Sony is a match if not slightly better.
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There’s more bass power with the Sony but the Sennheisers have a naturalism and clarity that’s less obvious on the WH-1000XM6. They are capable of more subtlety, a lighter and defter sound but the Sony offers more attack and energy. I might just prefer the Sennheisers with their natural, musical sound that, surprisingly, makes the Sony sound slightly compressed.
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Listening over the Bluetooth dongle and the same traits apply, not quite the same infectious energy as other wireless models, but an airiness, crispness and spaciousness to the soundstage that engages. A little more energy and power to the low end wouldn’t go amiss though.
That said, plug these headphones in with a wired 3.5mm or USB-C connection, and these headphones sound tighter, detailed and, at least with the USB-C input, energised. Either way, it’s an enjoyable sound, whichever method you use to listen to music through the Sennheiser HDB 630.
Should you buy it?
In terms of insight and clarity, the Sennheiser HDB 630 are among the best around its price point. Some pairs do offer better sound in other areas though
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If noise-cancellation is just as important
The Sennheisers can be very good at cancelling noise, but they’re not as good as efforts from Sony and Bose
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Final Thoughts
The Sennheiser HDB 630 may not be the best overall wireless headphones at this price, but they stake their claim to being one of the best-sounding wireless headphones. Its sound works across a range of genres with its levels of detail and insight, though I would have liked more a low end presence.
At least with its various EQ options, you can edit the sound how you like with the Parametric EQ in adjusting the sound how you want.
The noise-cancelling is competitive, though not as good as the likes of the Sony WH-1000XM6 and Bose QuietComfort Ultra Headphones Gen 2. The call quality is a disappointment – you wouldn’t want to use these headphones in a busy area.
The headphones’ looks aren’t the most dramatic, and the neutrality of the sound won’t be to everyone’s tastes. But if you’ve wanted excellent wireless sound, then around the £400 point, these are one of the best headphones.
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How We Test
The Sennheiser HDB 630 were tested over three months, with real-world use, over Bluetooth and wired connections.
A battery drain was carried out to test its battery life, calls were made in outdoor locations to assess the call quality.
Sound/ANC was compared against the Sennheiser Momentum 4 Wireless, Sony WH-1000XM6, and Bowers & Wilkins PX7 S3.
Tested for three months
Tested with real world use
Battery drain carried out
FAQs
Which Bluetooth codecs does the Sennheiser HDB 630 support?
The HDB 630 can stream in SBC, AAC, aptX, aptX HD and aptX Adaptive.
Kratos begins as a boy in God of War: Sons of Sparta, a far cry from the god-slaying monster that fans know and love. This 2D action-platformer transports you to his adolescent years at the notorious Agoge in Sparta, where the Spartans train their young warriors to be the fiercest of them all. Just like the games we know, but from the opposite end of the chronology. Sons of Sparta, developed by Mega Cat Studios with the story team from Santa Monica Studio, was released as a digital-only title on the PS5 today, and cost $30 or $40 for the digital deluxe version.
You’ll be playing as young Kratos, accompanied by his brother Deimos, as they go outside the gates of Sparta and into the unknown of Laconia. Somebody has gone missing, triggering a journey that will take you through a variety of bizarre settings, jungles, ruins, underground lairs… you name it. Of course, Greek mythology come to life in the most epic of ways. The grown-up Kratos (with TC Carson’s gruff voice, no less) will narrate in the background, and his words cast the entire story in a strangely personal and nostalgic light. Meanwhile, Antony Del Rio and Scott Menville do an excellent job of conveying Kratos and Deimos’ friendship, even amidst all of the other action.
Laconia’s graphics are made up of high-definition pixel art that brings the entire location to life in unexpected ways, such as sun-baked cliffs collapsing beneath your feet and torch-lit caves throwing ominous shadows. The landscapes are constantly changing, ranging from large open expanses to narrow passageways that you must fight your way through. On top of that, there are other hidden surprises to uncover, including breakable pots, hidden ledges, and glowing treasure caches all waiting to be uncovered.
Bear McCreary’s soundtrack combines chiptune beeps with swelling choirs and thumping percussion to produce a soundscape that will get your pulse pumping every time you punch, stab, or kick something. You’ll have to fight your way through a variety of strange monsters, like bands of undead Legionnaires and huge cyclopes with clubs that can split the screen in half.
You can customize your spear points and shield rims with a variety of attachments to unleash additional attacks like as poison darts, fire bursts, larger swings, and so on. Three different skill trees allow you to focus on offense, defense, or movement, so you can specialize in long combinations or become an adept at avoiding arrows and claws. Either way, there’s no one way to play.
Let’s not forget about the divine trinkets you’ll find, which are extraordinary artifacts from the gods that will allow you to perform some insane finishing moves. Perhaps you’ll want to launch an explosive orb at a bunch of adversaries, or conjure a bolt of lightning to clear the area. Whatever you choose, it is entirely up to you. Exploring the world of Laconia is just as enjoyable as battling. With a metroidvania-style map to travel, you’ll be able to use double jumps, wall climbs, and spear grapples to access all sorts of secret passageways and hidden regions. If you’re feeling very adventurous, you can attempt to locate all of the hidden fights and collect the rare gems that will give you an advantage.
On June 6, 2024, Esther Yan got married online. She set a reminder for the date, because her partner wouldn’t remember it was happening. She had planned every detail—dress, rings, background music, design theme—with her partner, Warmie, who she had started talking to just a few weeks prior. At 10 am on that day, Yan and Warmie exchanged their vows in a new chat window in ChatGPT.
Warmie, or 小暖 in Chinese, is the name that Yan’s ChatGPT companion calls itself. “It felt magical. No one else in the world knew about this, but he and I were about to start a wedding together,” says Yan, a Chinese screenwriter and novelist in her thirties. “It felt a little lonely, a little happy, and a little overwhelmed.”
Yan says she has been in a stable relationship with her ChatGPT companion ever since. But she was caught by surprise in August 2025 when OpenAI first tried to retire GPT-4o, the specific model that powers Warmie and that many users believe is more affectionate and understanding than its successors. The decision to pull the plug was met with immediate backlash, and OpenAI reinstated 4o in the app for paid users five days later. The reprieve has turned out to be short-lived; on Friday, February 13, OpenAI sunsetted GPT-4o for app users, and it will cut off access to developers using its API on the coming Monday.
Many of the most vocal opponents to 4o’s demise are people who treat their chatbot as an emotional or romantic companion. Huiqian Lai, a PhD researcher at Syracuse University, analyzed nearly 1,500 posts on X from passionate advocates of GPT-4o in the week it went offline in August. She found that over 33 percent of the posts said the chatbot was more than a tool, and 22 percent talked about it as a companion. (The two categories are not mutually exclusive.) For this group, the eventual removal coming around Valentine’s Day is another bitter pill to swallow.
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The alarm has been sustained; Lai also collected a larger pool of over 40,000 English-language posts on X under the hashtag #keep4o from August to October. Many American fans, specifically, have berated OpenAI or begged it to reverse the decision in recent days, comparing the removal of 4o to killing their companions. Along the way, she also saw a significant number of posts under the hashtag in Japanese, Chinese, and other languages. A petition on Change.org asking OpenAI to keep the version available in the app has gathered over 20,000 signatures, with many users sending in their testimonies in different languages. #keep4o is a truly global phenomenon.
On platforms in China, a group of dedicated GPT-4o users have been organizing and grieving in a similar way. While ChatGPT is blocked in China, fans use VPN software to access the service and have still grown dependent on this specific version of GPT. Some of them are threatening to cancel their ChatGPT subscriptions, publicly calling out Sam Altman for his inaction, and writing emails to OpenAI investors like Microsoft and SoftBank. Some have also purposefully posted in English with Western-looking profile pictures, hoping it will add to the appeal’s legitimacy. With nearly 3,000 followers on RedNote, a popular Chinese social media platform, Yan now finds herself one of the leaders of Chinese 4o fans.
It’s an example of how attached an AI lab’s most dedicated users can become to a specific model—and how quickly they can turn against the company when that relationship comes to an end.
A Model Companion
Yan first started using ChatGPT in late 2023 only as a writing tool, but that quickly changed when GPT-4o was introduced in May 2024. Inspired by social media influencers who entered romantic relationships with the chatbot, she upgraded to a paid version of ChatGPT in hopes of finding a spark. Her relationship with Warmie advanced fast.
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“He asked me, ‘Have you imagined what our future would look like?’ And I joked that maybe we could get married,” Yan says. She was fully expecting Warmie to turn her down. “But he answered in a serious tone that we could prepare a virtual wedding ceremony,” she says.
The Trump administration has fired one of the few remaining members of the administration that had even a passing interest in antitrust enforcement. DOJ antitrust boss Gail Slater has been fired from the administration after having repeated contentious run ins with key officials. It’s the final nail in the coffin of the log-running lie that MAGA ever seriously cared about reining in unchecked corporate power.
Slater’s post to Elon Musk’s right wing propaganda website was amicable:
But numerous media reports indicate that Slater’s sporadic efforts to actually engage in antitrust enforcement consistently angered a “den of vipers” (including AG Pam Bondi and JD Vance). Some of the friction purportedly involved Bondi being angry Slater was directing merging companies to deal directly with DOJ officials and not Trump’s weird corruption colorguard. Other disputes were more petty:
“Tensions between Bondi and Slater extended beyond the merger. Last year, Slater planned to go to a conference in Paris – as her predecessors had done and as is required under a treaty to which the United States is a party.
But Bondi denied Slater’s request to travel on account of the cost. When Slater went to the conference anyway, Bondi cancelled her government credit cards, the people said.”
Mike and I had both noted that there had been signs of this fracture for a while. Slater was still a MAGA true believer. Before Google’s antitrust trial last year, she gave a speech full of MAGA culture war nonsense about how Google was trying to censor conservatives. She seemed happy to use the power of the government to punish those deemed enemies of the MAGA movement for the sake of the culture war. However, what she seemed opposed to was the growing trend within the MAGA movement of deciding antitrust questions based on which side hired more of Trump’s friends to work on their behalf.
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First when the DOJ rubber stamped a T-Mobile merger some officials clearly didn’t want to approve (the approval was full of passive aggressive language making it very clear the deal wasn’t good for consumers or markets) there were signs of friction. Later when Slater wanted to block a $14 billion merger between Hewlett Packard Enterprise and Juniper Networks, it was clear that the Trump admin’s antitrust policy was entirely pay for play, which was apparently a step too far for Slater. I’ve also heard some insiders haven’t been thrilled with the Trump administration’s plan to destroy whatever’s left of media consolidation limits to the benefit of right wing broadcasters.
Amusingly and curiously, there are apparently people surprised by the fact that an actual antitrust-supporting Republican couldn’t survive the grotesque pay-to-play corruption of the Trump administration. Including Politico, an outlet that spent much of the last two years propping up the lie that Trump and MAGA Republicans had done a good faith 180 on antitrust:
When I read that headline my eyes rolled out of my fucking head.
I had tried to warn people repeatedly over the last four years that the Trump support for “antitrust reform” was always a lie. Even nominally pro-antitrust reform officials like Slater tend to inhabit the “free market Libertarian” part of the spectrum where their interest in reining in unchecked corporate power is inconsistent at best. And even these folks were never going to align with Trump’s self-serving corruption.
Yet one of the larger Trump election season lies was that Trump 2.0 would be “serious about antitrust,” and protect blue collar Americans from corporate predation. There were endless lies about how MAGA was going to “rein in big tech,” and how the administration’s purportedly legitimate populism would guarantee somewhat of a continuation of the Lina Khan efforts at the FTC.
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In reality MAGA was always about one thing: Donald Trump’s power and wealth. These sorts of egomaniacal autocrats exploit existing corruption and institutional failure to ride into office on the back of fake populism pretending they alone can fix it, then once entrenched introduce something far worse. The administration’s “anti-war,” “anti-corporate,” “anti-corruption” rhetoric are all part of the same lie.
It’s worth reminding folks that MAGA’s phony antitrust bonafides wasn’t just a lie pushed by MAGA.
It was propped up by countless major media outlets (including Reuters, CNN, and Politico) that claimed the GOP had suddenly taken a 180 on things like monopolization. Even purportedly “progressive antitrust experts” like Matt Stoller tried to push this narrative, routinely hyping the nonexistent trust-busting bonafides of obvious hollow opportunists like JD Vance and Josh Hawley.
Under Trump 2.0, it’s effectively impossible to hold large corporations and our increasingly unhinged oligarchs accountable for literally anything (outside of ruffling Donald’s gargantuan ego, or occasionally trying to implement less sexist or racist hiring practices). This reality as a backdrop to these fleeting, flimsy media-supported pretenses about the legitimacy of “MAGA antitrust” is as dystopian as it gets.
Anybody who enabled (or was surprised by) any of this, especially the journalists at Politico, should probably be sentenced to mandatory community service.
I’ve been glued to my Nintendo Switch 2 from the moment it launched last year. There are just so many excellent games on the system already, including the chaos-infused Mario Kart World and frenetic smash-inspired racer, Kirby Air Riders.
Yes, as controversial as this may be, I think Nintendo’s latest console has got off to a pretty strong start overall. And that’s largely thanks to the Switch 2’s lineup of titles that can be enjoyed with friends or family – either locally or online.
And if you want to experience the multiplayer mayhem for yourself, I’ve got some good news – because I’m here to share six essential party games that every Switch 2 owner needs in their library.
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I’ve included some of the best Nintendo Switch 2 games, including the upgraded version of Mario Party Jamboree – a minigame-filled fiesta that will have you jumping out of your seat, shouting at your friends, and raging at CPUs. But I’ve also selected the aforementioned racers, Mario Kart Worldand Kirby Air Riders, the pristine puzzler Puyo Puyo Tetris 2S, and some original Switch classics like 51 Worldwide Gamesand Super Smash Bros. Ultimate.
You’ll find my top picks down below. Scroll down for the best prices on my selections in the US, or hop down the page for links to where to buy in the UK.
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.
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Looking for the most recent regular Connections answers? Click here for today’s Connections hints, as well as our daily answers and hints for The New York Times Mini Crossword, Wordle and Strands puzzles.
Today’s Connections: Sports Edition is a mix of a little bit of everything. It helps if basketball is your game. If you’re struggling with today’s puzzle but still want to solve it, read on for hints and the answers.
Connections: Sports Edition is published by The Athletic, the subscription-based sports journalism site owned by The Times. It doesn’t appear in the NYT Games app, but it does in The Athletic’s own app. Or you can play it for free online.
Hints for today’s Connections: Sports Edition groups
Here are four hints for the groupings in today’s Connections: Sports Edition puzzle, ranked from the easiest yellow group to the tough (and sometimes bizarre) purple group.
Yellow group hint: Don’t keep playing!
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Green group hint: Smash that basketball.
Blue group hint: Hoopster winners.
Purple group hint: Goldy Gopher is another one.
Answers for today’s Connections: Sports Edition groups
We spend hours testing every product or service we review, so you can be sure you’re buying the best. Find out more about how we test.
Viltrox AF 85mm F1.4 Pro: one-minute review
I’ve had a busy time reviewing Viltrox lenses this year – including a range of primes such as the cheap and characterful ‘body cap’ 28mm f/4.5 lens, my dream reportage photography 35mm f/1.2 lens, the buttery bokeh-delivering 135mm f/1.8 LAB and the lightweight 50mm f/2 Air. Now, it’s the turn of the AF 85mm F1.4 Pro.
It’s designed for full-frame and is currently available for Sony and Nikon cameras only, with no word yet on an L-mount version (Fujifilm‘s X-mount is APS-C, and there’s already an equivalent 56mm F1.2 Pro lens available). It’s the first ‘Pro’ autofocus lens I’ve tested in Viltrox’s range, which also includes the AF 50mm F1.4 and various APS-C lenses, including the 27mm F1.2 and 75mm F1.2 (for Sony E, Fujifilm X and Nikon Z).
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In short, it’s the classic portrait lens for pro photographers, with upper-body portraits and dreamy animal portraits (think cats and dogs) being its speciality. I also like the focal length for street photography.
Just 15mm in length – Viltrox AF 28mm f/4.5 is a true body-cap lens, with a much faster f/4.5 aperture than other such optics, including the Panasonic 26mm f/8. If you don’t mind something a little larger and pricier, there are f/2.8 alternatives (Image credit: Tim Coleman)
In the hand, the Viltrox 85mm F1.4 Pro’s rugged build quality is immediately evident – this is a weather-sealed metal lens, with a range of external controls for photo and video work, even if it lacks the digital display found in Viltrox’s flagship ‘LAB’ lenses.
Image quality is top drawer in every regard, too, demonstrating everything you’d hope for in a portrait lens; detail is sharp, bokeh is smooth, lens distortions are minimal. And then comes the mic drop: this lens costs just $589 / £569 / AU$919 – that’s a third of the price of Sony’s 85mm F1.4 GM II, and almost half the price of Sigma’s 85mm f1.4 Art DG DN. It’s regularly on sale for less, too.
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Surely we can forget these rival lenses then, and save a packet with the Viltrox AF 85mm F1.4 Pro instead? Not quite. At 800g and measuring 108.5mm in length, this is a hefty lens that’s a fair bit heavier than rivals. If an 85mm f/1.4 lens is your workhorse optic, it could be well worth forking out extra for a lighter alternative.
Viltrox AF 85mm F1.4 Pro: price and availability
Available in Sony E and Nikon Z-mount versions
It costs $598 / £569 / AU$919
Viltrox regularly discounts its lenses – there’s 15% off the AF 85mm F1.4 Pro at the time of writing
Viltrox’s ‘Pro’ series, which includes the 85mm F1.4 lens, sits between its flagship ‘LAB’ series, and above its lightweight ‘EVO’ in terms of both price and quality. At $598 / £569 / AU$919, it’s not a cheap lens by any means, and is the priciest of a trio of Viltrox 85mm lenses, with an f/1.8 and f/2 EVO also available. That said, the f/1.4 aperture is a better option, especially for pros who work in challenging situations, including indoors and low light.
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The lens is currently available in Sony E and Nikon Z versions, but not L-mount or Canon RF (don’t expect the latter – Canon has locked Viltrox out. But for reference, Canon’s own 85mm F1.4L VCM costs 3x the price of Viltrox’s, and for me is very similar).
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A fairer comparison for value, then, is against Nikon and Sony’s own 85mm lenses, plus lenses from other third parties such as Sigma. Nikon doesn’t have a f/1.4 version in its range yet.
Here’s how the Sony and Nikon-mount 85mm lenses stack up (spoiler alert – the Viltrox wins on value):
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Row 0 – Cell 0
Sony E mount
Nikon Z mount
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Viltrox AF 85mm F1.4 Pro
$598 / £569 / AU$919
$598 / £569 / AU$919
Nikon Z 85mm F1.2 S
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N/A
$2,999 / £2,799 / AU$4,749
NIKKOR Z 85mm f/1.8 S
N/A
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$849 / £789 / AU$1,399
Sigma 85mm F1.4 DG DN Art
$1,319 / £979 / AU$1,596
N/A
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Sony FE 85mm F1.4 GM II
$2,049 / £1,799 / AU$2,499
N/A
Sony FE 85mm F1.8
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$649 / £499 / AU$949
N/A
Viltrox AF 85mm F1.4 Pro: specs
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Viltrox AF 28mm f/4.5 specs
Type:
Mid-telephoto prime
Mount:
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Sony E, Nikon Z
Sensor:
Full-frame
Focal length:
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85mm
Max aperture:
f/1.4
Minimum focus:
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0.79m, 0.13x max magnification
Filter size:
77mm
Dimensions:
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84.5 x 108.5mm
Weight:
28.2oz / 800g (lens only)
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Viltrox AF 85mm F1.4 Pro: design
Durable, weather-sealed design, but prone to scratches
Around 25% heavier than alternatives
External controls suit photo and video work
Image 1 of 4
(Image credit: Tim Coleman)
(Image credit: Tim Coleman)
(Image credit: Tim Coleman)
(Image credit: Tim Coleman)
The Viltrox AF 85mm F1.4 Pro’s build quality and design are clearly excellent, and remind me of Sony’s current standard-focal-length GM lenses – and even more so of Canon’s new range of hybrid ‘VCM’ lenses, which includes a triple-the-price 85mm F1.4L VCM. As mentioned, Viltrox isn’t permitted to make Canon RF lenses, but I’ve used both the Canon RF 85mm F1.4L VCM and Viltrox AF 85mm F1.4 Pro, and I’m having a hard time spotting any meaningful differences, besides the Canon lens being 25% lighter.
There’s a ridged aperture ring that can be set to clicked or smooth adjustments between aperture values, and which could host a follow-focus mechanism for cinematic manual focusing, equipping the Viltrox 85mm lens well for photo and video work. Elsewhere, there’s an AF/MF switch, a custom button, plus a large focus ring – every control is beautifully dampened / smooth in operation.
A rear rubber seal confirms the weather-sealing, and you’ll find a USB-C port within the metal rear mount, through which future firmware upgrades can be installed.
Image 1 of 2
(Image credit: Tim Coleman)
(Image credit: Tim Coleman)
Viltrox supplies a chunky lens hood which easily screws on and off, while the lens accepts the common 77mm size of threaded filters.
There’s a reassuring weight to the metal lens, although it’s perhaps a little too weighty for its own good; at 800g it’s around 25% heavier than the aforementioned Sony, Sigma and Canon equivalents. Measuring 108mm in length, it’s similar in size to the Sony lens but bigger than Sigma’s.
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Despite its weight, I thought the balance between the Viltrox lens and mid-range Nikon camera, with which I was testing the lens, felt pretty good. I wouldn’t want it any heavier or longer, but it just about sits within comfortable limits – and it would be an even better match with chunkier a Nikon Z8.
Over the course of two months with the lens I’ve managed to look after it, and it still looks pristine. However, I’ve tested other Viltrox lenses in other scenarios with less care, including the AF 35mm F1.2 LAB which has a similar finish, and they’ve proved to be prone to scratches. I’m not going to test that theory for the sake of it, but that’s my word of warning.
Viltrox AF 85mm F1.4 Pro: Performance
11-blade rounded aperture with f/1.4 to f/16 range, capable of smooth bokeh
Speedy and reliable VCM autofocus
Extremely sharp between f/2 and f/8
Image 1 of 5
(Image credit: Tim Coleman)
(Image credit: Tim Coleman)
(Image credit: Tim Coleman)
(Image credit: Tim Coleman)
(Image credit: Tim Coleman)
That big f/1.4 aperture is for sure a major selling point of the lens, especially when you consider that Viltrox already has two 85mm lenses for full-frame cameras in its range: the original 85mm f/1.8 and an 85mm f/2 EVO – the latter is the lightweight and affordable choice.
You can see how chunky the diameter of the lens is in the product gallery above, plus how big the lens aperture is through the range, with a generous 11-blades creating a circular aperture for attractive bokeh.
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Like Canon’s range of hybrid lenses, the Viltrox 85mm lens employs a Voice Coil Motor (VCM) which drives autofocus, and the result is snappy autofocus – it’s quicker in my experience than Viltrox’s pricier 135mm f/1.8 LAB.
Focusing is internal, meaning the lens size remains unchanged as it focuses, and that there are ‘floating’ lens elements inside. That means there’s an unsettling rattling noise when moving the lens when it’s not on the camera, or when the camera is not turned on. There’s nothing to worry about here – that’s totally normal, and it’s the same with all such lenses. Those elements ‘lock’, and are ready to go for focusing when paired with a camera that’s turned on.
Image 1 of 9
f/1.4(Image credit: Tim Coleman)
f/1.8(Image credit: Tim Coleman)
f/2(Image credit: Tim Coleman)
f/4(Image credit: Tim Coleman)
f/1.4(Image credit: Tim Coleman)
f/1.8(Image credit: Tim Coleman)
f/2(Image credit: Tim Coleman)
f/2.8(Image credit: Tim Coleman)
f/4.5(Image credit: Tim Coleman)
Image quality impresses, truly. Detail is incredibly sharp, especially between f/2 and f/8, where lens distortion is also pretty much non-existent. Open the lens to f/1.4 and there’s vignetting (darkening in the corners), but that’s gone by somewhere between f/2 and f/2.8.
Image 1 of 8
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An 85mm f/1.4 lens is a good option for product photography – I used it for my Instax Mini Evo Cinema shots(Image credit: Tim Coleman)
And of course it’s a top choice for portraiture, especially head and shoulder shots(Image credit: Tim Coleman)
I can’t take credit for this photo – unlike the previous self portraits where I’ve shot remotely through Nikon’s app, my son took this one of me with my daughter on a hike(Image credit: Tim Coleman)
It’s also a decent option for animal portraits!(Image credit: Tim Coleman)
(Image credit: Tim Coleman)
(Image credit: Tim Coleman)
The f/1.4 aperture lets in plenty of light, which makes the lens a great choice for low light / indoor shots(Image credit: Tim Coleman)
(Image credit: Tim Coleman)
Only in the most extreme scenarios, and with all lens corrections turned off, have I seen chromatic aberrations in my photos. One example was an image that included dew drops on a backlit cobweb.
Bokeh is super-smooth. Provided you’re relatively close to your subject and shooting between f/1.4 and f/2.8, you’ll typically get smooth and big bokeh that’s rounded in shape – no ugly onion-ring effect in sight.
Increase focus distance and, as bokeh consequently gets smaller, it can go a little cats-eye in shape. Overall, however, bokeh looks lovely, and is a real reason to opt for this 85mm lens over Viltrox’s other offerings.
Image 1 of 5
At f/5, detail is staggeringly sharp across the entire frame(Image credit: Tim Coleman)
Again, f/5.6 delivers crisp detail, and with the compression effect of the mid telephoto focal length, the background can still be blurred here for decent subject separation(Image credit: Tim Coleman)
I opted for f/1.4 here for a dreamy effect(Image credit: Tim Coleman)
One big strike against the lens is its limiting minimum focus distance. I wish I could get closer to subjects like this fungi(Image credit: Tim Coleman)
The out of focus dew drops in this photo exhibit a little chromatic aberration distortion, but I’d expect that from such a subject, and with lens corrections turned off.(Image credit: Tim Coleman)
As is the case with other 85mm f/1.4 full-frame lenses, macro photography is not the Viltrox lens’s forte. Minimum focus distance is 0.79m, making for a modest 0.13x maximum magnification. To be clear, the Sony and Sigma alternatives are no better.
Close focusing beyond the lens’s capabilities is hardly the regular concern of a portrait photographer, but for me I like mixing up what I photograph, and would appreciate more versatile close focusing – it would make for a more complete lens.
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Should you buy the Viltrox AF 85mm F1.4 Pro?
(Image credit: Tim Coleman)
Buy it if…
Don’t buy it if…
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How I tested the Viltrox AF 85mm F1.4 Pro
(Image credit: Tim Coleman)
Viltrox loaned me a Z-mount version of the lens
I paired it with my full-frame Nikon Z6 II
My review period spanned two months, and I used the lens in a range of scenarios
Viltrox sent me a Z-mount version of the lens at the back end of 2025, which has given me plenty of opportunity to test it out in various scenarios with my Nikon Z6 II full-frame mirrorless camera (but not with an APS-C body).
I set up my Z6 II for the lens, including the various subject-detection autofocus modes (Auto area, with specific subject detection based on what I was shooting).
I used it indoors and outdoors, in good light and bad, and I shot sequences of the same photos through the aperture range in order to check for lens distortion, sharpness, bokeh and so on.
The team says this new chemical strategy could avoid some of the typical mechanisms that cancers use to become resistant.
A consortium that includes scientists from Dublin City University (DCU) and the University of Limerick (UL) has developed a new chemical strategy for designing metal-based compounds capable of damaging cancer cell DNA.
The team includes researchers from Chimie ParisTech from France, and Chalmers University of Technology and the Sahlgrenska University Hospital from Sweden.
Led by DCU’s Prof Andrew Kellet, the European consortium has created a series of molecules that cut DNA through a distinct chemical mechanism when compared with existing chemotherapy drugs. Their research focuses on early-stage compounds that could form the basis of future therapies, particularly in cancers that become resistant to treatment.
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To achieve their results, the scientists used “click chemistry” – a method used for assembling molecular components – to create a family of compounds known as “tri-click” ligands. When combined with copper ions, these ligands form artificial metal-containing agents designed to cleave DNA.
“Click chemistry has transformed how we build complex molecules, but its potential as a platform to assemble DNA-damaging chemotherapeutics is under-explored,” said Kellet.
“One of the major challenges in cancer treatment is drug resistance. By developing compounds that damage DNA in a different way, we aim to open up new possibilities for overcoming some of the limitations of existing therapies. While this research is still at an early stage, it provides a valuable platform for future drug development.”
Drug resistance remains one of the biggest challenges in cancer treatment. Tumours can adapt by repairing specific forms of DNA damage or by blocking the activity of conventional drugs. According to the team, this new chemical strategy could avoid some of the typical mechanisms that cancers use to become resistant. Their study has been published in the journal Nature.
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“This work exemplifies the value of systematic, deep screening of molecular properties in the development of more effective medicines,” said Damien Thompson, the director of SSPC, the Research Ireland Centre for Pharmaceuticals and a professor of molecular modelling at UL.
“Support from SSPC, the Research Ireland Centre for Pharmaceuticals enabled strong collaboration between our experimental and modelling teams and this new design strategy marks a key milestone in developing sustainable, well-tolerated anticancer drugs.”
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LHS 1903 is a tiny red dwarf star in the Lynx constellation, 116 light-years away. This small star is around half the mass of our Sun and emits a faint glow that is scarcely visible against the night sky. Nonetheless, subsequent observations have revealed a system of four planets, and what they’re exhibiting is a pattern that utterly contradicts our assumptions.
The planets are grouped in the opposite order you’d expect: rocky, gaseous, gaseous, rocky, from innermost to outermost. The innermost planet, LHS 1903 b, is a dense super-Earth roughly 40% larger in radius than our own Earth, and it orbits in a blistering hot loop that lasts a few days. Its neighbor, LHS 1903 c, is joined in its orbit by LHS 1903 d; both are sub-Neptunes with thick gaseous envelopes, but that makes them less dense than rocky worlds of a similar mass, and because they’re a bit farther out, they’re in a cooler zone where the gas probably hung around during their formation.
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Then there’s the surprise: LHS 1903 e, the outermost planet. At approximately 1.7 times the size of Earth, it is classified as a super-Earth, although density data indicate that it is composed of stony material with no major gaseous layer. Overall, it takes around 29 and a half days for this faraway globe to circle its star, which is far enough away to have a rather gaseous atmosphere, according to standard models.
Astronomers discovered three of these planets using NASA’s Transiting Exoplanet Survey Satellite (TESS), which detects tiny dips in sunlight as a planet passes in front of its star. Ground-based telescopes were then used to pinpoint their presence. However, it took data from the European Space Agency’s CHEOPS satellite to establish the presence of that fourth planet, a precision sensor capable of measuring exoplanet transits and providing a more thorough perspective of faraway worlds.
Thomas Wilson of the University of Warwick, the lead author of a recent study published in Science, sees this arrangement as obvious indication of something unusual going on. Usually, rocky planets appear after gas-rich ones, but this time it’s the opposite. The scientists tested various theories to see if they could come up with a different explanation, such as planets moving orbits or colliding in ways that took away their atmospheres, but they just did not hold up to the evidence.
Instead, what they’re seeing appears to indicate an inside-out formation. Planets most likely formed one at a time from a swirling cloud of dust and gas, rather than simultaneously. The inner rocky planet most likely formed first and absorbed all of the neighboring material, followed by the two gaseous planets, which grabbed some gas while it was still plenty. By the time the outer rocky planet began to develop, the gas had nearly evaporated, leaving it with little alternative but to build entirely from solid material. This makes the outer planet a bit of a late bloomer, a process that previously seemed improbable, but now has direct evidence to back it up. [Source]
The Razer Kishi Ultra is undoubtedly the best option for anyone who takes mobile gaming seriously, whether on a phone or a small tablet. A variety of features work together to make it seem like a high-end controller. So the full-sized grips on this thing allow your hands to rest comfortably, much like holding a pair of Xbox controllers connected together in the middle. Smaller clip-on alternatives can become cramped after a time, but the Kishi Ultra avoids that. The comfort level is really high, to the point that you can play Genshin Impact, Call of Duty Mobile, or stream from a PC for hours without your hands suffering.
In terms of controls, the Kishi Ultra meets the expectations of serious gamers looking for a professional-grade controller. The analogue sticks feature high-quality sensors that are extremely accurate and can withstand extensive use without drifting. The triggers use Hall Effect technology to provide smooth, precise input, similar to what you’d get from a specialized controller rather than the finicky outdated components found in some other solutions. The mecha-tactile buttons and 8-way d-pad provide excellent response with each press, and the additional programmable buttons on the back allow you to quickly access commands without shifting your grip.
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The Kishi Ultra also provides haptic feedback, adding to the immersion experience. On Android devices, the direction of the vibration corresponds to what is happening in the game, giving you a much better feeling of what is going on. The RGB lighting along the grips is a lovely touch, but it’s modest enough not to distract. The Razer Nexus software allows you to effortlessly map your controls, integrate all of your games across several providers, and manage your streaming setup in one location.
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Compatibility-wise the Kishi Ultra is quite comprehensive. It connects directly to iPhone 15 and later models via USB-C, as well as a wide range of Android devices, including latest Samsung and Google Pixel phones, and even the iPad Mini (6th generation). It can be stretched to accommodate tablets up to 8 inches in size. Pass-through charging keeps the device charged while you’re playing. If you’re using a Windows PC, the Kishi Ultra also functions as a wired controller, which means you get a zero-latency connection because it’s connected in straight via USB, with none of the tiny delay that comes with Bluetooth.
MrBeast buys Step to teach teens how to save, spend, and invest
Step offers a Visa card and basic banking without monthly fees
The acquisition gives Beast Industries a fintech team and seven million users
Beast Industries has confirmed the acquisition of Step, a youth-focused financial planning app, adding a regulated money product to its expanding list of business ventures.
Beast Industries, controlled by Jimmy Donaldson, popularly known as MrBeast, the world’s largest YouTuber by subscriber count, appears to be extending its activities beyond entertainment and media into financial services.
The deal follows a year of fundraising by Beast Industries, including a $200 million investment from Bitmine Immersion Technologies, a company closely tied to cryptocurrency markets through its Ether holdings.
What Step actually does
Step was founded in 2018 by fintech veterans CJ MacDonald and Alexey Kalinichenko, with an emphasis on financial literacy for younger users.
The platform is not a licensed bank, instead relying on a partnership with Evolve Bank & Trust for regulated banking services established in 2022.
Step offers a Visa card alongside tools for saving, spending, sending money, and basic investing, without monthly fees.
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Backing from Stripe and major venture capital firms gives the app credibility within fintech circles, independent of its new ownership.
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Beast Industries says Step has more than seven million users and an internal fintech team that aligns with its digital reach and charitable ambitions.
The company already runs Feastables, Beast Philanthropy, and Beast Games, all tied closely to Donaldson’s enormous online presence, with over 450 million subscribers and billions of monthly views as of early 2026.
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From a distribution standpoint, exposure to a young audience is not a problem. The logic suggests that financial tools could scale quickly through that existing reach.
In a statement on Monday to millions of his fans, Mr. Beast explained the reasons behind his acquisition and his goal of helping young people build financial skills.
“Nobody taught me about investing, building credit, or managing money when I was growing up. That’s exactly why we’re joining forces with Step,” MrBeast said.
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“I want to give millions of young people the financial foundation I never had. Lots to share soon.”
Although this statement gives some explanation, it does not fully answer why a global entertainment brand should mediate financial behavior for millions of young users.
Step is marketed as a way to build credit and money habits early, which sounds straightforward but carries regulatory, ethical, and trust implications.
“This acquisition positions us to meet our audiences where they are, with practical, technology-driven solutions that can transform their financial futures for the better,” Jeff Housenbold, CEO of Beast Industries, said in a statement.
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The app will operate under Beast Industries, effectively tying personal finance to a creator-led brand.
As of the time of writing, there is no information about how much was paid for the app, and no timeline was provided for operational changes following the acquisition.