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Tech

Sony 1000X The Collexion Review: The Devil Wears Sony

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Verdict

Sony’s 1000X The Collexion are the fashionable model in its WH-1000X series. While noise cancelling and battery life take a hit compared to the WH-1000XM6, these headphones are focused on delivering a better sound experience and comfort – and on that front they’ve succeeded.

  • The most comfortable entry in the WH-1000X series

  • Mature, balanced audio performance

  • Stacked with features and customisation over price rivals

  • Better noise cancelling than price rivals

  • Excellent call quality

  • Px8 S2 beats it for overall sound

  • Reduction in battery life

  • Less powerful ANC than WH-1000XM6

  • No USB-C audio

Key Features

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    360 Upmix

    Upconvert stereo audio with Cinema, Music and Game modes

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    Battery life

    Up to 24 hours of charge

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    Sound Connect app

    Customise an array of features with Sony’s headphones app

Introduction

Sony’s 1000X The Collexion are a different kettle of fish from its mainstream WH-1000X series, but it wants to have an impact that’s just as big with its intended audience.

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These aren’t your everyday, work-horse type of headphones. The 1000X The Collexion (or WH-1000XX) have a narrower focus, one that emphasises style, craft, comfort and sound quality.

The WH-1000XM6 are among the best wireless headphones, and you might think that the 1000X The Collexion are basically the XM7s in disguise, but they’re not. What they are is similar to, but also different from, the WH-1000X models that came before them.

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Design

  • Carry ‘bag’
  • Super comfort
  • Two finishes

Over the last ten years, Sony crafted a distinctive look for its WH-1000X series, and the WH-1000XX doesn’t deviate much from it. They’re still recognisably distinctive; sleek and premium-looking as expected from a pair of headphones pushing past £500 / $600. If you felt the WH-1000XM6 lacked a wow factor, this pair stands out more from the crowd.

They don’t collapse inwards as the WH-1000XM6 do, but that’s not how Sony wants you to make use of these headphones.

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Sony WH-1000XX carry bagSony WH-1000XX carry bag
Image Credit (Trusted Reviews)

These aren’t headphones that you stuff in your bag between commutes. They’re headphones to take care of, so the carry case is shaped and acts as a bag. There’s a handle to carry them in a way that’s more practical than the AirPods Max 2 cradle, with a magnetic latch to keep the case secure. It’s such a simple change that it’s almost genius. Why haven’t more headphone brands implemented this?

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It’s clear Sony’s mood board when designing these headphones had people wearing trenchcoats, Barrel trousers and Ferragamo shoes. Touch, feel, and a more experiential experience are what Sony’s designers have put their effort into.

Sony WH-1000XX sliderSony WH-1000XX slider
Image Credit (Trusted Reviews)

These headphones are both minimalist and eye-catching – designed to blend in with what you’re wearing rather than stand out. The choice of platinum silver (no, not white) and black serves to emphasise that monochromatic approach to styling – though Sony missed a trick by not including a brown/tanned version that would have fit into the upmarket fashion look.

Unlike the Bowers & Wilkins Px8 S2 or Focal Bathys, the WH-1000XX haven’t opted for real leather (vegans celebrate!). Instead, the headphones make use of two materials across the design: aluminium and faux leather.

Matte sandblasted faux leather covers everything that you touch or your head comes into contact with. Some might not like the feel or texture, but I quite like the tactile feel it gives to the touch controls compared to the frictionless swipes of the WH-1000XM6. These headphones still incorporate taps and swipes, and in most cases, if the first tap or swipe didn’t succeed, the second attempt hit the mark.

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Sony WH-1000XX faux leatherSony WH-1000XX faux leather
Image Credit (Trusted Reviews)

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I haven’t marked the surface of the headphones yet, but the earpads do have a few smudges I haven’t yet been able to remove. If you want to change out the earpads, they’re easily detachable.

Aluminium makes up the lovely-looking linkages that connect the headband to the earcups. The stepless slider is silent, but it’s the quality of the metal – according to Sony, each one is individually finished by a human – that’ll leave you purring about these headphones’ elegance.

The clamping force doesn’t feel too tight. Initially, while I felt pressure around my ears and cheeks, it slowly receded after a few minutes. The headphones can slip and slide, but I haven’t found the fit to be loose.

The earpads make for a cushy point of contact with the head, and these are easily the most comfortable wireless over-ears Sony has made; more so than the WH-1000XM6, which can bunch around my ears and make their presence quite literally felt.

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Sony WH-1000XX earcupSony WH-1000XX earcup
Image Credit (Trusted Reviews)

That’s not the case with the WH-1000XX, which go on like a cosy pair of slippers, despite weighing 70g more. The profile of the headphones’ earcups is slimmer, so they jut out less, which has some effects I’ll get to later.

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The noise isolation is perhaps not as strong as the WH-1000XM6, but The Collexion handles wind noise well enough. Wind whips cleanly past and doesn’t affect the mics, though walking into a headwind, the air gets into the aluminium linkages and produces a whistling sound.

There’s an extra physical button high up on the left earcup that covers Sony’s 360 Upmix modes, and they’re easy enough to locate thanks to the difference between the faux leather and metal feel of the controls.

The Collexion has a 3.5mm jack with a wired cable included in the carry bag. There’s no USB-C cable for charging, but more disappointing is that the WH-1000XX doesn’t support wired USB-C audio. Given all its main rivals do, I find this something of a letdown.

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Sony WH-1000XX cableSony WH-1000XX cable
Image Credit (Trusted Reviews)

Features

  • Sound Connect app
  • 360 Upmix modes
  • Auracast and Bluetooth LE Audio support

Writing the features for a pair of Sony headphones is, for me, intimidating because Sony packs in so much. Most of what was in the WH-1000XM6 carries over into the 1000X The Collexion, but the main takeaway here is that I can’t recall another headphone at this price point with this list of features. Sony’s in a field of its own when it comes to customising performance the way you want it.

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Bluetooth is v6.0, Bluetooth multipoint ensures connection to two devices simultaneously, and you can stream in SBC, AAC, and LDAC, which offers higher quality audio.

The headphones also carry Bluetooth LE Audio (LC3), which uses less energy when enabled. Plus there’s Google Fast Pair for quick connection to Android devices while Microsoft’s Swift Pair does the same for Windows. Auto Switch support works with the LinkBuds and the 1000XM5 headphones and upwards. Auracast is supposedly supported, though the list of specs I was sent didn’t mention it.

Sony WH-1000XX designSony WH-1000XX design
Image Credit (Trusted Reviews)

The wireless performance has been strong – stronger than I feel it was with the WH-1000XM6 in its LDAC mode. There are still stutters and places where interference can interrupt. So while it hasn’t been completely faultless like efforts from Sennheiser and Focal, it’s come through major areas like Victoria and Oxford Circus mostly unscathed.

The smart features are all back. Speak-to-Chat pauses music when you’re speaking, and it latches onto actual speech rather than coughing, sneezing or my attempts to grumble beneath my breath. There’s Quick Attention mode, where you put your hand over the earcup to hear what’s around, plus Adaptive Sound Control, which I don’t make much use of but allows for automation of ANC in turning it on or off through geolocation.

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If you prefer not talking to actual people and want to talk to digital assistants instead, the 1000X The Collexion supports Google’s Gemini. It also works with Apple’s Siri, and if there’s any other voice assistant you’d prefer, you can change the settings and have the headphones access your smartphone’s native assistant.

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There’s also Sony’s own voice control, where you can raise the volume or turn the noise cancellation, etc., when enabled. If you don’t want to talk at all, the WH-1000XX supports gesture controls – you can avoid a call by shaking your head.

Sony WH-1000XX appSony WH-1000XX app
Image Credit (Trusted Reviews)

Sony is still chasing immersive audio, and the WH-1000XX gets features that weren’t available on prior WH-1000X headphones. There are three ‘upmix’ modes of Sony’s immersive 360 Reality Audio sound in 360 Cinema Upmix (already present on the WH-1000XM6), which is joined by the 360 Music Upmix and 360 Game Upmix.

These three ‘Upmix’ modes are supplemented by Standard (the default mode) and Background Music, where you can push music away and make it sound as if it’s happening in the distance. Sound quality is degraded, but if you’re the type of person who likes to listen to music while working but also finds it distracting when you need to concentrate, this mode can help (it’s certainly helped me).

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These headphones will accept a Dolby Atmos signal (like any other pair), and there’s head-tracking support on Android.

These are the first pair of Sony headphones to implement its DSEE Ultimate, using Edge-AI to upscale compressed streams in real-time, and in doing so it claims to restore detail and dynamic range. To be frank though, if you’ve bought these headphones, you should be listening in higher quality than a piddling 320kbps stream.

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Sony WH-1000XX app settingsSony WH-1000XX app settings
Image Credit (Trusted Reviews)

Equaliser settings offer an array of presets to choose from, along with Find Your Equaliser, which plays audio to find the balance you’re after. For more in-depth control, there’s a 10-band EQ.

More smarts are available in Quick Access settings which includes Spotify Tap, Amazon Music Play Now, YouTube Music Quick Access and Endel Quick Access.

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I can’t say I’m a huge fan of the revamped Sound Connect app. While all the categories are listed in a way that makes it simple and easy to find what you’re after, there are so many features, so many nested tabs and menus – the way it’s presented is not the most visually appealing.

At least with the main page you can add shortcuts, and I suspect most people won’t deviate from the first screen once everything is set up to their tastes.

Battery Life

  • Up to 24 hours battery life
  • Fast charging
  • Replaceable batteries (with a caveat)

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There is a change in battery life, down from 30 hours to 24. A quick comparison to similarly priced rivals puts the WH-1000XX ahead of the AirPods Max 2, around the same as the Dali IO-8 and less than the Bowers & Wilkins Px8 S2.

Sony’s reasoning for the reduced battery is that as the earcups are slimmer in profile, there’s less room for the same capacity. The batteries are replaceable, though Sony recommends that you send them in for service rather than take a screwdriver to the headphones.

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Sony WH-1000XX USB-CSony WH-1000XX USB-C
Image Credit (Trusted Reviews)

Actual battery life? I’ve found the headphones can last plenty long despite the reduced specs. A two-hour drain with a Spotify stream in lossless (in LDAC with ANC on) and the headphones only went down by 3%. Arguably the longer they go on for, the bigger the drops, but they’re easily last across long flights.

Battery care can extend the headphones’ lifespan by stopping them from reaching full charge, just like with the ULT speakers and other Sony headphones.

There is fast-charging but perhaps because of the smaller batteries, it’s not as emphatic as the WH-1000XM6’s three minutes equals three more hours. The WH-1000XX offers 90 minutes from a five-minute charge. Not quite Speedy Gonzalez.

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Noise-Cancellation

  • Adaptive ANC
  • Ambient Sound mode
  • Excellent call quality

So, how about the noise cancellation? Is it better than the WH-1000XM6, or worse?

It’s not as good. But still pretty good.

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Measured against the WH-1000XM6 and it’s a noticeable drop, with noise isolation and overall suppression not as strong. The 1000X The Collexion is closer to the Bose QuietComfort Ultra Headphones Gen 2 (though not quite as silent).

Compared against contemporaries, they’re better than the Focal Bathys, Bathys MG, and Bowers & Wilkins Px8 S2. It deals with low frequencies more confidently during a pink noise test, and it clears away sounds from in front and to the sides more consistently. Perhaps the closest is the Dali IO-8, but the Sony is again more consistent.

While The Collexion aren’t super silent, on a plane, they make engine and cabin noise more manageable. On a busy train, it provides a semblance of calm, and on a bus, it makes the trip more bearable.

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Sony WH-1000XX earpadSony WH-1000XX earpad
Image Credit (Trusted Reviews)

The WH-1000XX’s Ambient Sound mode is good – there’s maybe a little bit noise to deal with, but it sounds clear enough that I can hear someone rustling a crisp packet across the train carriage. Unlike some efforts, it doesn’t amplify sound to grab attention; it just filters through the outside world in a calm manner.

Call quality is arguably top tier. The mics latched onto my voice and relayed it to the other person clearly, who didn’t pick up any background or wind noise. You can be confident taking calls outside.

In the Sound Connect app you can also turn the microphone on or off during calls and meetings. It’s interesting they have the type of ‘work’ functionality I’d have expected from the Jabra Evolve3 85. It suggests Sony sees business people taking a shine to these headphones too.

Sound Quality

  • Better treble response than WH-1000XM6
  • Less bass
  • More detail and insight into tracks

Here we get to the crux of the 1000X The Collexion’s performance – the sound.

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Is it better than the WH-1000XM6? Yes. Is it a huge upgrade over the WH-1000XM6? Not really. Is it a different approach from those headphones? Yes, and that’s the key takeaway. They’re similar but different.

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There’s a new 30mm driver that features a soft edge and a new high-rigidity dome that Sony says delivers clearer separation between instruments and voice, more high-frequency detail and a wider soundstage. The 1000X The Collexion delivers on that front.

Compared to the WH-1000XM6, the bass has been tempered down, which itself had been toned down from the WH-1000XM5. There’s less energy funnelled to the lows, certainly not as much richness either listening to tracks on the two, with a bass performance that’s a little smaller and tasteful on the WH-1000XX.

Sony WH-1000XX metalSony WH-1000XX metal
Image Credit (Trusted Reviews)

It’s a similar tuning to the WH-1000XM6, with similarities that at times make the gap between the headphones feel almost nonexistent. But listen for longer, the WH-1000XX begins to stretch ahead like a long-distance runner in the final lap.

The 1000X The Collexion sounds wider, and there’s more detail retrieved across the width of the soundstage (instruments at the edges sound more defined) and across the frequency range. It’s not a huge difference, but it’s enough, and where Sony’s tech has a big advantage over other brands is the reduction of hiss and background noises in tracks.

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Vocals are clearer and better separated from the instruments. Compared to the Dali IO-8, the Sony better protects the pocket for vocals – it feels like they’re slightly lost with the Dali on busy tracks, whereas the WH-1000XX preserves them better.

There’s a little more insight into vocals, a clearer and crisper tone that helps them stand out more. Compared to previous Sony over-ears, there’s a little nuance and refinement on display. When tracks get busy and there’s banging percussion beats and clashing cymbals, the Sony sifts through it with more acuity than the Dali does.

Sony WH-1000XX detachSony WH-1000XX detach
Image Credit (Trusted Reviews)

The highs are shaped a little better than before; clearer, more detailed, if around the same level of brightness. The highs aren’t fatiguing, and the high-frequency peaks strike a better tone on the WH-1000XX. The headphones form a clearer picture of a track in my head, but that’s not to say that the WH-1000XM6 are a slouch either.

They’re not the most energetic but that seems by design. The headphones go for a calmer and less excitable energy than the Bowers & Wilkins Px8 S2. The Bowers offers a bolder sound and retrieves more detail from music – plus it punches like a hammer with low frequencies.

The 360 Upmix modes are a mixed bag. If the intent of the 360 Music Upmix is to make it sound as if music isn’t coming from inside your head, then I don’t think it succeeds. If it’s meant to sound like a live music performance, it doesn’t carry the energy or feel of that either.

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The 360 Cinema Upmix is better. With an iPad Pro, it brings dialogue and backgrounds upfront, whereas without it, in the headphones Standard mode, it focuses on dialogue above all else. If it’s meant to push sounds further from your head, it’s not doing that, but I do prefer Cinema Upmix to Music Upmix.

Sony WH-1000XX on caseSony WH-1000XX on case
Image Credit (Trusted Reviews)

Should you buy it?

If you’ve wanted a luxury pair of Sony headphones

Fashionable, well-crafted, comfortable to wear with the most mature and balanced sound yet of the WH-1000X series.

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You want a pair for the everyday work/life balance

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Get the WH-1000XM6. The WH-1000XX are premium headphones for a particular market, with the Mk6 delivering better noise cancellation and longer battery.

Final Thoughts

Are Sony’s 1000X The Collexion better than the WH-1000XM6? Not in every way, but they’re not trying to be, and comparing them in such a way defeats the point. The WH-1000XX are intended for a different audience with different expectations.
 
If you have the WH-1000XM6, there’s no need to get an ‘upgrade’ with these headphones. They’re not the WH-1000XM7 in disguise but a different proposition altogether. If the WH-1000XM6 is more mainstream, the WH-1000XX are more bourgeois.
 
The noise-cancelling takes a hit, as does the battery life, but they sound better and they’re more comfortable to wear. If you’re after a pair of Sony wireless headphones that offer a higher level of comfort and sound, the Collexion is the model that suits you best.
 
The clincher, really, is how they compare to similarly priced efforts, and when it comes to noise cancellation and overall features, the Sony WH-1000XX has them beat. The level of customisation and smarts is where this pair of headphones reaches class-leading status.
 
The end result is a pair of Sony headphones that are similar to what came before, but different. Well-crafted, improved sound and a wealth of features – Sony’s entered the truly premium wireless headphone market with aplomb.

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How We Test

The WH-1000XX were tested over the course of three weeks, compared to similarly priced models in terms of sound and noise cancellation.

Battery drain was carried out, calls were made, and a pink noise test used to evaluate the noise cancellation.

  • Tested for three weeks
  • Tested with real world use
  • Battery drain carried out

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FAQs

Do the Sony 1000X The Collexion support USB-C audio?

There’s no USB-C audio support, with the headphones supporting analogue audio with its included 3.5mm cable.

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Full Specs

  Sony 1000X The Collexion Review
UK RRP £549
USA RRP $649
EU RRP €630
Manufacturer Sony
IP rating No
Battery Hours 24
Fast Charging Yes
Weight 320 G
ASIN B0GY4RH3MX
Release Date 2026
Model Number WH-1000XX
Audio Resolution SBC, AAC, LDAC, LC3
Driver (s) 30mm
Noise Cancellation? Yes
Connectivity Bluetooth 6, Auracast, Google Fast Pair, Microsoft Swift Pair
Colours Platinum Silver, Black
Frequency Range 4 40000 – Hz
Headphone Type Over-ear

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Sandisk’s new PS5 SSDs cost up to $2,960, that’s five PlayStation 5 consoles

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Facepalm: Sandisk has unveiled a new line of SSDs designed to expand the PlayStation 5’s storage capacity. To no one’s surprise, the new drives are priced more like luxury hardware than an affordable storage upgrade for a mass-market home console.

The US memory manufacturer has launched the Optimus GX PRO 850P SSD lineup, which includes storage drives specifically designed for the PlayStation 5 and PlayStation 5 Pro. While high-capacity SSDs are already expensive, Sandisk’s PS5-branded drives push pricing to an entirely different level.

The Optimus GX PRO 850P lineup includes four NVMe SSDs with capacities ranging from 1TB to 8TB. The 1TB, 2TB, 4TB, and 8TB models are priced at $380, $760, $1,500, and $2,960, respectively. Sandisk is also offering introductory discounts on the drives, suggesting their regular retail prices will be even higher once the promotion ends.

Sandisk said the Optimus GX PRO 850P SSDs are officially licensed by Sony and feature an exclusive heatsink design with a PS5 logo on top. The PCIe 4.0 drives have reportedly been optimized for the console’s internal M.2 expansion slot, although they are also compatible with any PC motherboard that supports the M.2 2280 form factor.

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Additional specifications include support for the NVMe 1.4 protocol, sequential read speeds of up to 7,300 MB/s, and sequential write speeds ranging from 6,300 MB/s on the 1TB model to 6,600 MB/s on the 8TB version. Endurance ranges from 600 TBW for the 1TB drive to 4,800 TBW for the 8TB model, while every SSD is backed by a five-year limited warranty.

Sandisk describes the Optimus GX PRO 850P lineup as a “no-compromise” storage solution that can significantly expand the number of games stored on a PS5 at once. However, the company neglected to mention that the 8TB model now costs about as much as five PS5 consoles. Only the 1TB version is currently “cheaper” than the console itself, and even that comparison is based on the higher PS5 prices Sony introduced earlier this year.

Unlike the Xbox Series X and Series S, the PS5 uses a standard M.2 NVMe SSD for expandable storage. If Sandisk’s pricing is too steep, plenty of third-party alternatives can expand the console’s storage at a much lower cost.

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The Optimus GX PRO 850P drives are the latest example of hardware affected by ongoing supply chain pressures in the memory industry. The retail SSD market is shrinking, while consumer electronics prices continue to climb because of rising memory costs. AI companies are buying up virtually every memory chip they can secure, even though many planned US data center projects for 2026 have yet to materialize.

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BMPS Grand Finals Day 1 Schedule & Format

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After some fierce competition over the past few weeks, 16 teams have qualified for the BMPS Grand Finals happening in Jaipur. And this time, the event is more important than ever. Not only has the prize pool been doubled to ₹4 crore, but the champion of the BMPS Grand Finals gets a direct entry to the esports World Cup happening in Paris later this year. Here’s what the schedule will look like on day one.

BMPS 2026 Grand Finals Day 1 Schedule & Timing

The live broadcast will begin at 2:45 PM IST. Fans can catch the games like on Krafton’s YouTube channel in Hindi, English, and a few other regional languages. Or, if you want to support your team live, head over to the Jaipur Convention Center. Tickets are available on the District app. Maps for today will include:

  • Match 1 — Rondo
  • Match 2 — Erangel
  • Match 3 — Erangel
  • Match 4 — Erangel
  • Match 5 — Miramar
  • Match 6 — Miramar

A total of 18 matches will be played over the course of this weekend. And the format is pretty simple. Points are awarded for each finish, and also for how long a team survives. In the end, the team with the most total points (position + finish) will be the winners.

BMPS Grand Finals Qualified Teams

  • Nebula Esports
  • Myth Official
  • iQOO Revenant XSpark
  • iQOO Reckoning Esports
  • Genesis Esports
  • Gods Reign
  • GodLike Esports
  • iQOO 8Bit
  • iQOO SouL
  • Vasista Esports
  • Divine Gaming
  • iQOO Orangutan
  • Victores Sumus
  • Gods Esports
  • Team Apex Gaming
  • iQOO Team Tamilas

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‘We’ve seen an increase in Blu-ray orders of 10,000%’: I spoke to a Blu-ray and vinyl manufacturer about their Blu-ray sales and it’s given me even more hope for physical media’s survival

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Physical home media has gone through a turbulent time the last few years. With the rise of streaming services, demand for physical media over the past few years has steadily declined, with people choosing the convenience of streaming over physical discs.

There’s still a dedicated fanbase of physical media collectors, though, and more recently streaming price rises and splintering means people have more interest just owning the stuff they want to watch. I’ve been writing about my hope for the resurgence of 4K Blu-ray, and physical media in general, since 2023. Now in 2026, I’m actually more hopeful than ever. It couldn’t come at a better time either, with the 20th anniversary of Blu-ray’s debut on June 20th, 2026.

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Congress Just Rushed Through A Disastrous Copyright Office Overhaul

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from the bad-copyright-ideas dept

In a voice vote last week, the House of Representatives passed H.R. 6028, the “Legislative Branch Agencies Clarification Act.” The legislation is presented as a technical reorganization of some government agencies, but it’s much more than that. 

H.R. 6028 would fundamentally change the U.S. Copyright Office, and not in a good way. The bill removes the Library of Congress’ current supervisory role over the Copyright Office, transfers several powers directly to the Register of Copyrights, and makes the Register a presidential appointee, confirmed by the Senate. 

These changes would make an office that’s already hugely influential in copyright and tech policy much more political. EFF first explained why that’s a terrible idea when it came up nearly a decade ago. This bill, like the older one, weakens the few public-interest checks and balances that do exist.  We hope the Senate promptly rejects this bill. 

The Copyright Office Doesn’t Need More Politics—Or More Power

The Copyright Office’s main responsibilities are administrative and advisory. It registers copyrights, maintains records, grows the Library of Congress’s collections, and provides expertise to Congress on copyright law. But over the past two decades, the Office has also become increasingly influential in copyright policy debates that affect free expression, libraries, educators, competition—and everyday internet users. Unfortunately, it has not been a neutral advocate. The office’s recent report on the role of AI severely bungled the issue of fair use, prioritizing private licensing market “solutions” over user rights. 

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Going further back, the Copyright Office supported one of the most infamous anti-internet proposals of all time—the Stop Online Piracy Act (SOPA), a disastrous internet censorship proposal that sparked one of the largest online protests in history. The Office has repeatedly advanced positions that favored large entertainment-industry interests over the public interest.

The Office also plays a major role in the Digital Millennium Copyright Act (DMCA) Section 1201 rulemaking process, which determines when the public may lawfully bypass digital locks for activities such as security research, repair, preservation, or accessibility. EFF has used this process repeatedly to mitigate some of the worst harms of the DMCA. H.R. 6028 would move rulemaking authority over 1201 from the Librarian of Congress to the Register of Copyrights, further consolidating power within the Copyright Office itself.

The bill also makes the Register of Copyrights a presidential appointee confirmed by the Senate. Each administration will be pressured to pick nominees aligned with their own policy preferences, and the powerful copyright owning industries will invest even more heavily in lobbying to get their way, and influence the selection. This position should be focused on administrative ability and actual expertise, not lobbying and politics. 

The Copyright Office Should Stay Connected To The Library of Congress

H.R. 6028 would do more than change who appoints the Register of Copyrights. It would sever the Copyright Office from Library of Congress supervision and transfer many Librarian powers directly to the Register. 

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The supervisory relationship exists for good reason, as the nation’s libraries have pointed out for years. The Library, while far from perfect, at least has the mission of preserving and providing access to knowledge. That should be an important public-interest counterweight in copyright debates. Congress has not explained how weakening the ties between the Library and the Copyright Office would serve the public better, or even seriously inquired about it. 

This Bill Was Rushed Through

Back in March, EFF joined Public Knowledge, the Center for Democracy and Technology, library organizations and tech groups, urging Congress not to fast-track this legislation. We told them changes to the Copyright Office will have major consequences for the “speech rights, educational opportunities, and creative freedoms of all Americans.” 

Yet Congress moved forward without any hearings on the bill, and without meaningful examination. H.R. 6028 creates a years-long separation of the Copyright Office from the Library of Congress, transfers significant legal authority, and restructures the appointment process for the nation’s top copyright official. Changes like that deserve hearings, debate, and public scrutiny. H.R. 6028 got none of that. 

The Senate Should Stop This Bill

Copyright law exists to serve the public and “promote the progress” of science and learning. The institutions that administer copyright law should do the same. 

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H.R. 6028 would move the Copyright Office further away from that goal. Congress should be strengthening public-interest oversight of copyright policymaking, not looking for ways to concentrate more authority in a single presidentially appointed official. 

The Senate should reject H.R. 6028. The Copyright Office should serve the public—not presidential administrations, and not industry lobbyists. 

Republished from the EFF’s Deeplinks blog.

Filed Under: copyright, copyright office, copyright policy, library of congress

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Cybercriminals have been distributing malware via Steam for a year, tens of thousands affected

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WTF?! According to Kaspersky, cybercriminals have been targeting Steam users with a sustained malware campaign since 2025, distributing malicious software disguised as desktop wallpapers. The attack hijacked the accounts of gamers using Steam’s live wallpaper application Wallpaper Engine, which ranks among the platform’s most popular non-game downloads.

The attack reportedly abused Wallpaper Engine’s “Application Wallpaper” executable, which runs as a standalone Windows program and can include community-developed games, planners, calendars, system monitors, and other widgets. However, because the app allows unverified third-party code to run on users’ systems, it can be abused by threat actors to target unsuspecting users.

The researchers found that the attackers used two primary methods to distribute malware. The first involved archives containing the executable wallpaper alongside a malicious payload, typically including compromised .exe files, DLLs, or scripts. The malware was also frequently concealed within password-protected archives and executed automatically when the wallpaper was applied.

Once applied, the infected executables stole users’ account credentials, hijacked live sessions, and transmitted the stolen data to servers controlled by the attackers. The researchers discovered dozens of malicious application wallpapers on Steam Workshop, some of which were downloaded tens of thousands of times.

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To test the attackers’ modus operandi, the researchers launched a wallpaper containing a malicious game called NTRaholic, which ran “flawlessly.” The gameplay and controls worked as advertised, raising no suspicion at first glance. However, unbeknownst to the user, the wallpaper dropped a backdoor called Synaptics.exe, part of the notorious DarkKomet malware family.

The executable that launched the game was named ._cache_GAME1.exe, but it also installed a system library called AggregatorHost.dll, which contained a malicious payload designed to steal user data and transmit it to the attackers’ command-and-control server. Once the attackers gained control of the active session, they used the compromised account to upload additional malicious wallpapers to Steam Workshop.

The campaign primarily targeted gamers in China, who accounted for 89% of the compromised downloads. Users in Germany, Canada, Russia, Singapore, Hong Kong, Vietnam, and India were also affected, though in much smaller numbers. Steam has since removed all of the malicious wallpapers, but Kaspersky is still urging users to run antivirus scans before applying wallpapers that include built-in executables.

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Your 8K Living Room On Wheels Has Arrived

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Benz’s electric “Grand Limousine” might just make minivans cool.

The concept of a living room on wheels is something of a modern cliché in the automotive world, a vision for a car so comfortable, well-appointed and ultimately luxurious that you’d be just as happy to spend hours there as you would lounging at home.

The problem is that most of those concepts, like the Cadillac InnerSpace or Mini Urbanaut, have depended on the availability of self-driving technology, something that still only exists in the limited circles of Waymo, Zoox and their ilk. We’re still years away from you or I being able to buy a car that can drive itself unsupervised, but that isn’t stopping Mercedes from releasing what could be the most compelling of the rolling living spaces.

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It’s called the VLE, and while it requires a human behind the wheel, passengers in the second row will be treated to reclining, massaging seats, a 22-speaker Dolby Atmos sound system and a 31.3-inch ultrawide 8K display. It’s an amazing package, but is it enough to shrug off those minivan preconceptions?

Don’t call it a Caravan

Visually, the VLE fits the silhouette of countless family-friendly minivans that have been handling kid-hauling duties in the United States since the Dodge Caravan planted the seed way back in the early ’80s. Ask Mercedes, though, and they’ll tell you this is a different beast.

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The VLE is what the company calls a Grand Limousine, and while that sounds pretentious, it’s actually perfectly appropriate. At 216 inches, the VLE is 10 inches longer than a GLS SUV. It also has an internal ceiling height of 49 inches, making it easy for me, at six feet tall, to move around.

And it is certainly at least as luxurious as your average limousine, with seating to match. The VLE can be configured with room for up to eight across three rows, but it’s best with fewer, specifically configured with the two-seat captain’s chair arrangement you see here.

Two powertrains will be available. The VLE 300 offers front-wheel drive and 272 horsepower, while the VLE 400 4MATIC steps up to a dual-motor, all-wheel drive configuration with 416 hp. Both rely on the same, sizable, 115-kilowatt-hour usable battery pack that spans the floor of the van. Mercedes says it will provide enough range to cover 435 miles on the European WLTP test cycle. On our more challenging EPA test, expect a rating somewhere around 350 miles.It’s an 800-volt system that charges at a maximum rate of 300 kilowatts. That means adding about 200 miles in 15 minutes.

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The media experience

As much as I love to drive, the best seats in the VLE are in the second row. From there, you can recline and gaze up through the glass ceiling, or deploy the 31.3-inch ultra-wide screen and whittle away at your YouTube queue.

You can also stream Disney+ directly on the display, but sadly those are the only two video streaming partners of note. Neither Chromecast nor AirPlay streaming are supported. There is an HDMI port if you want to BYO content, but running wires across the cabin doesn’t feel particularly luxurious to me.

You can also pick from a few basic games to play on the system, and if you have two kids who can never agree on anything, you can split the TV into dual, 15-inch 4K displays. The 32:9 ratio means that after splitting, you’re effectively getting a pair of 16:9 displays, which is honestly better for viewing most content anyway. A pair of Bluetooth headsets means a pair of passengers can also get their own dedicated audio.

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Sitting up front? There’s plenty of pixels there, too. Specifically, three dashboard-spanning units that make up Benz’s MBUX Superscreen setup. There’s a 10.25-inch gauge cluster on the left, a 14-inch main infotainment screen in the middle and a 14-inch passenger display on the right that can also stream videos and other media.

For the broader aural part of the media experience, you have 22 speakers from a Burmester 3D sound system. It handles Dolby Atmos, so you can be fully immersed in both music and more theatrical content. Interestingly, the system can also dynamically reconfigure itself based on who is sitting in the van and where.

Driving solo? The speakers automatically prioritize you. Have a full van? It’ll fill it all with sound. And it’s very capable of doing that. I cruised through a playlist of Atmos-optimized music, everything from Tay Tay to Axl Rose, and everything sounded fantastic.

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Creature comforts

Those two chairs in the middle are heated and ventilated and can sit you upright or slide you to a reasonable degree of recline. No, they don’t go fully flat, but you probably wouldn’t like what would happen to you in an accident if they did. They’re honestly a bit narrow and awkward to get in and out of, but I could see myself spending hours back here without complaint.

I could stay productive, too, thanks to integrated USB-C power in all three rows, and a fold-out laptop tray that looks flimsy but was sturdy enough to handle my Lenovo X1 Carbon. A temperature-controlled compartment in the armrest can keep hot drinks hot and cold drinks cool, and there’s a separate chiller towards the back for more.

RGB LEDs run throughout the entire cabin, so you can give your ride whatever hue you like, and there’s even an integrated nebulizer, making for a bespoke scent, too.

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Even the third row is comfortable. The middle seats swing themselves forward and out of the way, so entry is easy, and I had ample headroom back there.And then there’s the driver’s seat, which is also comfortable and accommodating should you have to drive this machine yourself.

Behind the wheel

With up to 416 horsepower delivered through all four wheels, the VLE can be properly quick when punched up to sport mode. It also rides on adaptive air suspension, which can firm up and make the VLE feel that much more responsive in the corners.

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But in my time behind the wheel, it never felt comfortable when driven aggressively. I enjoyed piloting the VLE much more when I dialed it down to Comfort, took a deep breath and just cruised along my route.

In this mode, the air suspension is supple, and the throttle relaxed enough that you can ease your way forward without disturbing anyone in the rear seats. The steering has a slow ratio as well, but don’t let that make you think this isn’t a nimble van. With seven degrees of steering from the rear wheels, the VLE can turn its impressive bulk in a far tighter circle than you might expect.

Drivers get to take advantage of a suite of active safety systems as well, including active lane-keep assistance on the highway and a comprehensive automatic parking system that swings this big beast into tiny parking spots. It’ll even automatically back itself out of a tight situation should you make a wrong turn down a narrow alley.

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Wrap-up

About the only thing the VLE is missing is full autonomy. It’d be awfully nice to get a machine like this and let it take you to work while you got in a few rounds of Fortnite on that 8K display. Alas, we’re not there yet, but I have a feeling most people who experience the VLE will do so from the second row. This would be an epic airport and event shuttle, but it’s going to be a little while before it enters service.

The VLE isn’t due to hit the American market until late 2027, and while the price isn’t set, Andreas Zygan, Head of Development at Mercedes-Benz Vans, told me this: “It will not be a cheap one, for sure.”

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Trump Admin Backs Off Plans To Kill Ocean Monitoring

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An anonymous reader quotes a report from The Guardian: In May, the federal government announced without warning that it would take apart a network of ocean monitoring systems that it had spent over $350 million to build. No reason was given for the decision to shut down the Ocean Observatories Initiative (OOI), but suspicion immediately focused on the network’s role in tracking climate change. But the OOI also provides data that’s useful for weather forecasting and fisheries management, leading to widespread opposition. Today, it appears that the opposition has won, as the government will announce that it’s reversing the decision. The big remaining question is how much damage the OOI took during the intervening month.

[…] The OOI is a federally supported resource that provides ocean data for use by academic researchers, government planners, and private companies. It consists of arrays of monitoring systems in several locations in both the Atlantic and Pacific Oceans that can track things like currents, salinity, chemical levels, temperatures, and tectonic activity. (There are over 100 individual entries on the page that display the data gathered by the system.) Obviously, there are many potential uses of that data. The fact that it has been gathered continuously for a decade means it can help track changes in how carbon dioxide and heat enter the oceans. This is probably what made it a target for the climate change denialists who helped set the Trump administration’s policy.

Those policymakers are perfectly happy to annoy people with environmental concerns, but they apparently neglected to consider how upset everyone else would be about losing access to the other data. The ensuing public backlash led the Senate on Wednesday to unanimously agree with a measure that would block the government from taking down the OOI. Today’s decision may indicate that the administration recognized it had gotten itself into a fight it knew it was losing. The National Science Foundation formally announced the decision, stating: “effective immediately, [it] will not proceed with further removal or descoping of equipment from the remaining arrays and will continue operations including planned maintenance.” The agency added that it “appreciates the concerns raised by the range of stakeholders that have informed us they rely on data” from the OOI.

The NSF also said it would “issue a Dear Colleague Letter to collect input from stakeholders and convene an expert panel to assess observational needs, evaluate available data sources, consider responses … and help the agency identify a sustainable path for NSF’s ocean observing systems.”

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Kensington SD5010T5 EQ Thunderbolt 5 docking station review

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Why you can trust TechRadar


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.

Kensington SD5010T5 EQ: 30-second review

The Kensington SD5010T5 EQ is a 13-in-1 Thunderbolt 5 docking station announced in May 2026. It sits at the entry end of Kensington’s growing TB5 line-up and is designed to bring next-generation connectivity to a broader audience without the price tag of the flagship EQ Pro.

The key design choice here is straightforward. Kensington trades two of the three downstream Thunderbolt 5 ports found on the SD5000T5 for a pair of built-in HDMI 2.1 outputs. That is a significant swap.

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Microsoft and Adobe team up and make Photoshop 20% faster on Windows

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Compilation Matters: Despite the meteoric rise of generative AI services, traditional image editing tools like Photoshop still dominate the creative industry. So much so that Microsoft – now largely focused on cloud services and AI models – is working hard to find new ways to make Windows-based applications run faster.

Thanks to a close collaboration with Adobe, Microsoft engineers have significantly improved performance in certain Photoshop operations. Photoshop is a large, native desktop application written in C++ and compiled with Microsoft’s Visual C++ compiler on Windows, which is why Microsoft focused on MSVC in an effort to extract additional performance from one of the world’s most widely used image editing applications.

Microsoft explained that the collaboration targeted real-world customer scenarios involving CPU-intensive operations. Many complex image processing workloads are now handled – or in some cases “accelerated” – by the GPU. However, some latency-sensitive tasks, such as brush responsiveness, stroke input, and file-opening operations, still depend heavily on a CPU’s raw performance.

The engineers explored new practical ways to improve Photoshop’s performance at compile time. First, they enabled MSVC’s “peak-performance” compilation mode, which is designed to produce highly optimized binaries on Windows.

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They then experimented with profile-guided optimization to further optimize the executables. PGO uses data collected from test runs of .exe and .dll binaries to better reflect real-world usage patterns and improve performance. However, the engineers found that PGO was not an ideal fit for Photoshop’s development workflow, as it adds complexity to the build process.

After trying – and failing – with PGO, the engineers turned to Sample-based Profile Guided Optimizations as a potential alternative. Unlike traditional PGO, SPGO replaces data collected from “representative” workloads with hardware performance samples gathered from actual release binaries. SPGO is also more flexible in terms of data collection, enabling analysis across a diverse set of test and production machines, and can deliver typical performance gains of around 5% to 15%.

Microsoft said SPGO proved to be a better fit for the Photoshop collaboration. Instead of relying on manual tuning, engineers could use compiler feedback – collected with negligible runtime overhead – to improve the code generated during MSVC’s final build process.

SPGO also proved to be more compatible with Adobe’s engineering environment. By combining MSVC’s peak-performance mode with SPGO, the teams were able to improve Photoshop performance by 20% on x64 Windows systems and by 13% on Arm.

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As noted by Adobe senior software developer John Fitzgerald, the optimized builds delivered better responsiveness in drawing and stroke operations, file-opening times, and filter processing. “These are among the most frequently used and latency-sensitive interactions in a professional creative workflow, where responsiveness directly affects a user’s ability to work fluidly and iteratively,” Fitzgerald said.

Microsoft said the collaboration with Adobe provides a meaningful foundation for improving performance in software designed for Windows. The company is now highlighting MSVC’s capabilities as a way to improve performance and user experience across its broader software ecosystem.

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Hulu Promo Codes & Discounts: 20% Off in June

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Like other popular services like Netflix and Max, Hulu is a streaming service that has exclusive series, current-season episodes, hit movies, Hulu Originals, kids shows, and more. There’s also a Hulu plan for nearly every kind of watcher, including streaming content with ads for a service on the cheap, or bundles for additional platforms like Disney+ and ESPN+ to get even more content at reduced prices. I have a Hulu plan to watch some of my favorite shows like critically-acclaimed Atlanta or my current fave wholesome comedy, Abbott Elementary. We at WIRED stay glued to our devices and round up the best movies and the best TV shows currently being streamed on Hulu. Right now, we have outlined various ways to save while streaming on Hulu, including the chance to pay just $1.99 per month with the Hulu student discount.

Get this Hulu Student Discount: $2 Per Month

Students can stream a bevy of shows and movies with Hulu for just $2 per month. This deal saves you 80% off the original monthly subscription price, and is valid for new and existing Hulu subscribers enrolled in an accredited college or university who meet verification qualifications. All you need to do to get Hulu for less than two bucks is verify your student status through SheerID to save.

Enjoy a Hulu TV + Live TV Free Trial

I love my Hulu account, but with half-a-dozen other streaming services, it’s been hard to keep them all, or even know which is worth the money at the end of every month. I’m trying to decide which to keep, and the Hulu TV free trial is an excellent way to test the plan and see if it fits my TV watching needs. There is a free 3-day trial to test it out, and the plan has a $0 Broadcast TV fee, $0 Regional Sports fee, $0 Set-top box or related rental fees, and a $0 administrative fee. The Hulu live TV plan is essentially the best of both worlds—your favorite streaming-only series, along with cable-only content like sports and news programming, including over 95 live TV channels like ABC and ESPN.

Watch the Latest Hulu TV Shows for Less

One of the things I love most about Hulu is that they are constantly adding both new original shows and old favorites. They truly have something for every type of watcher and mood. As a true crime lover (I know it’s problematic, I’m sorry), I’ve been excited to see the Twisted Tale of Amanda Knox.

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Here’s what I’m also excited to watch this season. Classic crime drama The Rookie stars perennial heartthrob Nathan Fillion centers on a small-town man becoming the oldest rookie in the LAPD. I always look forward to the feel-good comedy Abbott Elementary, which focuses on a quirky cast of misfits in the public education system in Philadelphia. In R.J. Decker, the titular character is a conman and disgraced newspaper photographer who begins entering the dark underworld of private investigating in South Florida.

Plus, there’s something for everyone, from trash reality TV like The Bachelorette, to intriguing Paradise, to quirky comedy High Potential, to the classic boy cartoon-comedy Family Guy.

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