Several years ago, Jared Cooney Horvath’s interest in teaching took a scientific turn.
He entered teaching during a period he calls “the decade of the brain” — when much of the buzz around education and learning covered new theories about brain activity and information processing. Horvath believed that if he learned more about the brain, he’d become a better teacher.
Jared Cooney Horvath
But the education ideas that captured the popular imagination in the early 2000s had to do with catering to so-called learning styles — right- versus left-brain thinkers or visual versus word learners — and notions about how to hasten cognitive development through certain outside stimuli. Remember those moms-to-be with headphones on their bellies for their babies to experience the “Mozart Effect” in utero?
Yet the science of learning persists. And what Horvath — today a neuroscientist and education consultant — now knows about human cognitive development has spurred him to join a cohort of researchers who are questioning the proliferation of technology and education software in schools.
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His new book “The Digital Delusion” feels like a logical progression from Jonathan Haidt’s 2024 bestseller “The Anxious Generation,” which looked at how hours spent in front of screens, especially on social media, with its rapid-fire videos and toxic commentary, has damaged children’s overall mental health and learning.
In “Digital Delusion,” Horvath outlines research showing how digital devices and screen time, at the expense of playtime, interferes with children’s cognitive development. Then he argues how the ubiquitous use in schools of laptops and edtech, at the expense of traditional skills like handwriting and note-taking, alters, for the worse, how kids learn.
Horvath takes a pragmatic approach on that score, suggesting arguments parents can use with administrators and at school board meetings. He has chapters that include examples of letters and other tools parents can customize to mobilize action at state and federal levels.
Some educators maintain that schools should emphasize responsible use of technology, including AI, to prepare students for a technology-driven workforce. Horvath isn’t convinced. First, he argues, workforce preparation should not be education’s priority, particularly in younger grades. Second, it’s inefficient: “Teach someone to use a tool and they’ll be able to use that tool,” he writes. “Teach someone how to think and they’ll be able to use any tool.”
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Even so, Horvath insists he isn’t anti-tech: “This isn’t a book about resisting devices,” he writes. “It’s a book about reclaiming education as a deeply human endeavor.”
EdSurge spoke with Horvath about “The Digital Delusion” and his work with schools around the globe, including in Australia, which at the end of last year banned social media for anyone under 16.
This interview has been edited for length and clarity.
EdSurge: You make the point that whenever a new technology is introduced to a culture, early adopters are the enthusiasts. But for any given technology to have broad acceptance, it must pass muster with skeptics. Yet that didn’t really happen with digital technology in schools, did it?
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Horvath: If I invented something, I had to convince you. This [product] will get rid of that stain on your shirt. This will keep your iceberg lettuce crisp in the fridge. If you promised something you had to live up to it, because for the few people who adopted it to begin with, if you didn’t clean their stains, they’re not coming back.
Digital technology never made a claim to anything. It just kind of appeared and people just started using it. When AI came out, the developers flat-out said, we don’t know what this does. Why don’t you guys tell us what it does? And for some reason we shoved it into schools and said, instead of me telling you what it does, why don’t I let my kids tell you what it does?
Something very weird happened where they made no claims to efficacy and then we jumped in and started using it. Our job now is to start to pull some of those weeds rather than protect before planting. And unfortunately that means there’s been a lot of victims along the way.
A lot of kids have suffered due to our rush to just put things in their hands, unfortunately.
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I think we have this love affair with digital technology. I don’t know if it’s because of sci-fi or “Star Trek” or what. We intuitively think this is going to be helpful.
And now we’re just scrambling back.
You explain that children need to play for optimum cognitive development, but ordinary childhood play and behavior has been disrupted by screens. Is there evidence that if we take the technology away from children whose brains are still forming that they can bounce back?
Yes, absolutely. The good thing about human biology is it is wickedly malleable.
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There’s two aspects to keep in mind. One, biology is also wickedly conservative. It changes all the time, but it never forgets anything. So if you have had a habit at one point and you drop that habit, you can move your biology a different way, but if you come back to that habit even once, your biology will have held onto that entire circuit. It’s a survival mechanism. Our genes, our brain, hold everything.
So when it comes to these tech habits, if you’ve already formed them as a kid, they will always kind of be there. If you think, I’m over this, and you pick up your phone, you will move much faster back into that habit than you did before.
The other thing to recognize here is everything we know about learning, and most of what we know about biology, basically starts after the age of 5. That’s when what we call human biological learning mechanisms really kick in.
From birth to about 5, you’re in a totally different world. The brain is basically in input mode. Gimme, gimme, gimme. And I’m going to hold onto everything. This is why if a kid grows up in a house with two languages, they will easily learn two languages because the brain just says gimme, gimme, gimme.
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So that’s where I think the super danger zone comes in. If you develop habits or problems before the age of 5, when you hit 5, the brain locks itself down. You won’t be able to consciously remember what happened before the age of 5, but all of that [input] forms the foundation upon which further learning is going to occur.
My fear is if you form a habit before the age of 5 and then your brain locks down, are you now stuck in a spot where it will be very hard to get that out? If you’ve already addicted your kid before age 5, be careful. I don’t know what that’s going to mean when they get older.
Why? My question is just why? There are a lot of states right now putting forward bills to limit screen time in primary years: K through [grade] 2, 90 minutes; [grades] 2 through 5, two hours a day. To which I always reply, why any hours?
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I could easily make a case they don’t need any of this at any moment. It makes no sense for learning and development why [technology] needs to interface with anything they’re doing.
But by banning, aren’t we setting up a mystique around technology — causing a different kind of distraction around the yearning to use it?
That’s what you want. By banning and building a mystique, you give kids aspirations. I think back to my generation, when we turned 16, you couldn’t stop us from driving. Why? Because with our parents, that was the hold: you want to go to your friend’s house? You got a bike, you got feet, I’m not driving you. You want to get to school? There’s a bus, you got feet, I’m not driving you. So by the time we knew we could drive, that’s the first thing we did.
If by banning tech, that makes kids say when I’m 18, I’m using tech — then, good, that means I have 18 years to train you to be ready to use that machine.
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Can schools realistically go back to paper? Textbooks, for instance, are expensive and take longer to update than websites, which are dynamic.
It’s funny, this is where you get the clash between different masters. In a good rule of thumb you can only serve one master at a time. So we’ve got issues of, I want my kids to learn, but I have monetary constraints and I have administrative bureaucracy that I’ve got to wend my way through.
When you’ve got multiple masters, eventually you’ve got to settle on one because if you try and serve many, no one’s going to be happy. And I would hope that in education we choose learning as our ultimate master. If that means, look, we have to devote more of our budget to textbooks and that means we won’t be able to do X this year, then so be it.
If that means, look, we’re going to only use the website for the last two years of history, but we’re going to have the book for the rest because it’s better for learning, then so be it.
Can you explain the findings around taking notes by hand?
Most students think note-taking is something they do while they learn. So [they think] if AI does it for me — cool! But they miss the point. Note-taking is the learning, not something that’s happening in parallel to learning. That is the learning. Because that’s where you’re doing your transformation: Your teacher said it. I now have to analyze it, think about it, organize it, get it out.
That requires friction. Your brain is going much faster. So the handwriting is constraining the speed with which you can think, which in turn is forcing you to focus on ideas, which in turn is transforming those ideas as you’re going along.
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That is the definition of learning.
The act of handwriting is arguably the most complex thing we do. When it comes to motor skills, there might be nothing more complex than that.
We talk about the difference between gross- and fine-motor movements. Name one skill we do that is so minutely fine as handwriting and so varied as handwriting. If you’re using a pen versus a pencil versus a crayon versus a marker, you’re doing very subtly different movements.
Those develop so much more awareness and understanding of the body in a way that then translates into other fields in ways we’ve never seen from any other skill before.
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If you know how to write, you will become better at reading. If you know how to write, you will become better at recognizing faces. Why? We don’t know. But everything seems to be correlated back to that skill.
So when people debate [whether] handwriting is still worth teaching? Of course. Is cursive still worth teaching? Of course. No one’s going to use cursive as an adult. That’s not why we’re teaching it, baby. It has nothing to do with what you’re going to do as an adult. ’
You were just in Australia. What is the feedback from the social media ban?
The response is overwhelmingly positive. Basically every school I worked at, the kids are fine with it. Teachers are fine with it. All of a sudden, behaviors are getting so much better in school. They said the biggest problem is with parents, oddly enough, who basically have to hang out with their kids and they don’t know what to do. If that’s our biggest problem, we’ll solve that. Hang out with your kid.
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Any time you remove something from your kid’s heart, you’re going to have to fill it with something else. You’re going to have to fill it with yourself, which means you’re going to have to take some of your own tech out of your own life to devote more of your time to your kid.
eBay acquired Depop from Etsy for $1.2bn earlier this month.
Online marketplace eBay is laying off around 800 jobs – or 6pc of its workforce spread globally. The job cuts are a response to operating model needs and future priorities, the company has explained.
As of 31 December last year, company filings show that eBay employed approximately 12,300 people globally, 5,100 of which are situated outside the US.
“We are taking steps to reinvest across our business and align our structure with our strategic priorities, which will affect certain roles across our workforce,” an eBay spokesperson told news publications.
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“We are grateful for the contributions of the employees impacted and are committed to supporting them with care and respect.” eBay, however, will still continue to hire in key areas, it said.
The announcement comes after eBay posted a 2025 annual net revenue of $11.1bn, up 8pc from the year before, while gross merchandise volume (GMV) was up 7pc to $79.6bn. eBay noted that fashion alone represents more than $10bn in GMV annually.
The layoffs also come on the heels of eBay announcing a $1.2bn acquisition of the second-hand fashion marketplace Depop, from Etsy. With the acquisition, eBay wants to target the under-34 consumer base – which represents a majority of Depop’s user base.
Etsy purchased Depop for $1.6bn in 2021. The same year, it bought Brazilian online marketplace Elo7 for $217m. In 2019, it purchased music gear marketplace Reverb. All three have since been sold by Etsy, which has been suffering from slowed growth in recent years. Its year-over-year revenue grew by just 2.2pc in 2024, down from 7.1pc in 2023.
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eBay laid off 9pc of its total workforce in 2024, or 1,000 jobs, citing macroeconomic conditions. In early 2023, it cut 500 jobs.
Company filings showed that eBay’s Irish arm, which handles its European operations, paid out more than €1.8m in redundancy costs after cutting 75 jobs in 2024.
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Full disclosure up front: I sit on the board of Bluesky. That said, I had absolutely no idea this lawsuit existed until recently. Which, honestly, tells you something about how much of a legal non-event it was. But the underlying story here—about the NFL treating social media the way it treats television broadcast rights—is worth digging into, because it reveals something deeply broken about how major sports leagues think about the internet.
The 2025-2026 NFL season just wrapped up, and along with it came a federal court ruling in a case called Brown v. NFL that most people missed entirely. Two football fans—one in Illinois, one in California—sued the NFL under the Sherman Act, claiming the league violated antitrust law by barring its teams from posting on Bluesky. The fans wanted to follow their teams—the Bears and the now-champion Seahawks—on the platform they actually use, rather than on Elon Musk’s X. The court dismissed the case for lack of standing, and honestly, that was probably the right legal outcome.
The fans couldn’t demonstrate a concrete injury—the information they wanted was still available, for free, on X. As the court put it, their grievance reduced to being “denied the ability to obtain real-time NFL team information on a private platform with which they are ideologically comfortable.” And “I don’t like Elon Musk” is not an antitrust injury. The Sherman Act targets conspiracies that restrain trade and harm competition—not content distribution preferences. You can’t force a private organization to distribute its content on the platform you like best, just as we’ve called out attempts to force social media platforms to carry content they don’t want to carry.
But the fact that the NFL is legally allowed to be this myopic doesn’t make it a smart business decision. You can be entirely within your rights and still be making a spectacularly bad call.
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Since 2013, the NFL has had a “content partnership” with X (dating back to when it was the useful site known as Twitter). The deal lets X publish real-time highlights, and in return the league gets… money, presumably. As the court noted in its ruling:
Since 2013, the NFL and X (formerly Twitter, Inc.) have had a “content partnership.” It allows X to publish real-time highlights from football games, such as touchdowns. During the offseason, reporters post on X with news about team practices and other NFL-related topics, and fans on X discuss teams’ acquisitions of free agents and other roster changes. For example, during the NFL draft (the high-profile annual event in which teams select eligible players to join their rosters), X published more than one million posts concerning the NFL; these appeared on users’ screens more than 800 million times. The NFL has repeatedly renewed its partnership with X. Fans do not pay money to receive NFL news on X.
Fine. Lots of organizations have deals with social media platforms. But this just seems like self-sabotage: the NFL apparently used this partnership as justification to tell its own teams they couldn’t even exist on a competing platform. Multiple NFL teams—including the New England Patriots—had set up accounts on Bluesky, started posting, and were building audiences. And then the league office stepped in and told them to shut it all down.
From the ruling:
Initially, multiple NFL teams, including the New England Patriots, had accounts on Bluesky to communicate with fans….
As alleged, however, the NFL later instructed its member teams to delete their Bluesky accounts. But for this instruction, at least some NFL teams would use Bluesky. The Patriots’ vice president of content, Fred Kirsch, for example, has stated: “Whenever the league gives us the green light[,] we’ll get back on Bluesky.”
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Yes, the (Super Bowl-losing) Patriots’ VP of content is publicly saying his team wants to be on Bluesky and is just waiting for the league to let them. This wasn’t a case of teams being uninterested. Teams saw the audience there, set up shop, and were actively communicating with fans—and the NFL made them stop.
As Front Office Sports reported at the time, the league specifically told the Patriots to take down their Bluesky account. The league apparently hasn’t even approved Threads—Meta’s X competitor—for team real-time updates either.
So the NFL has essentially decided that when it comes to the kind of real-time updates that fans actually care about, X is the only approved outlet. Everything else is locked out.
This is “broadcast-brain” thinking applied to the internet, and it’s spectacularly dumb.
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The NFL is treating social media platforms the way it treats regional sports networks or its Sunday Ticket package: as exclusive territories to be carved up and sold to the highest bidder. In the television world, that model makes a certain kind of sense—there’s a limited amount of spectrum, a limited number of cable channels, and that scarcity creates value. But social media doesn’t work that way. There’s no scarcity. Posting an injury report on Bluesky doesn’t remove it from X. Cross-posting is literally free. The entire point of social media for a brand is to be everywhere your audience is.
And the audience, increasingly, is on Bluesky. As Mashable noted last year heading into the season, the NFL community on Bluesky had already hit a kind of critical mass:
You need the presence and regular posting of big names to legitimize a platform. It certainly helped that folks like Kimes and alargeportionof theNFLwritersat popular sports sites like The Ringer made Bluesky home. And last season it felt like Bluesky hit terminal velocity, where enough people joined that you could fully exit to the site for football content. And with the migration of the professionals, the shitposters naturally came along, too. Because that’s where the discussion was happening. There is genuine, easy-to-find, fun NFL talk on Bluesky with minimal interruptions from, say,weird adsorangry reply guysyou might find on X.
That’s a real community. A vibrant, engaged community of exactly the kind of hardcore football fans that the NFL should be desperate to cultivate. These are, as Mashable noted, the “ball knowers.” They’ve moved to Bluesky because, well, X kind of sucks now for following sports. As Mashable also noted:
Bluesky does have a leg-up in some areas — Elon Musk’s site recently has proven unreliable for NFL fans. Thesite crashed the morning free agency launched, which is one of the most important days for NFL social media. And the sports tab — which used to be an easy, fun way to follow games in the Twitter days —degraded into near uselessnessyears ago. And, in general, X has morphed with Musk’s image, which is focusedmore on AIand politics — not things like following football. Of course you can still follow the NFL on X, but it does involve wading through more junk than it used to. Bluesky offers an interesting alternative in that regard.
So the most engaged, most knowledgeable football community has moved to Bluesky. The teams themselves want to be on Bluesky. And the NFL’s response to all of this is… to ban its teams from showing up.
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It’s the digital equivalent of a local blackout (something we’ve been calling out for well over a decade)—punishing your most dedicated fans because of some deal you cut with a middleman in an effort to create an artificial and unnecessary scarcity.
Meanwhile, the platform the NFL is propping up with this exclusivity arrangement is one where fans who tuned in for the Super Bowl halftime show got to watch a significant chunk of the X user base have a full-blown racist meltdown over Bad Bunny performing. The NFL specifically chose Bad Bunny to appeal to a broader, more global audience—and the audience that actually appreciated the choice? They were on Bluesky where there was an overwhelming wave of support for the performance. The league is betting its real-time presence on the platform where its expansion strategy gets shouted down, while blocking teams from the one where those new fans are actually showing up.
This kind of control-freakery from the NFL shouldn’t surprise anyone who has followed the league’s behavior over the years. This is the same organization that has spent decades aggressively lying to bars, restaurants, and small businesses about the scope of its “Super Bowl” trademarks, sending threatening letters suggesting you can’t even say the words “Super Bowl” in an ad without a license—something that has never actually been true.
The NFL’s institutional DNA is “control equals value,” and they apply that logic to everything, from what a church can call its viewing party to which social media apps their teams are permitted to use.
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The problem is that control-based thinking only works when you actually can control the ecosystem. You can (sort of) control which networks broadcast your games. You can control which streaming service gets Sunday Ticket. You cannot control where fans choose to talk about football on the internet. The conversation is going to happen whether the NFL’s official accounts are there or not. The only question is whether the league’s teams get to participate in it.
Any organization whose core business depends on fan engagement should be finding fans where they are, not herding them onto a single platform because you cut an exclusivity deal. Especially when that platform is increasingly known for being a hellscape of AI slop, political rage, and engagement-bait, while the platform you’re blocking your teams from is the one where people are actually talking about your product with genuine enthusiasm.
The NFL generates billions in revenue. And yet, when it comes to social media strategy, it’s stuck in a 2005 mindset. That’s not how any of this works anymore.
Someone at NFL HQ needs to understand that when your most passionate fans have moved to a new platform and your own teams are begging for permission to follow them there, the smart play is to let them go.
The PlayStation 5 Pro is getting a notable graphics upgrade, and it comes straight from Sony’s long-running partnership with AMD. As shared by Sony in an official blog post, the console’s image-upscaling technology is about to receive a major refresh.
Grateful for the shared vision with @cerny on Project Amethyst.
🎮 Through deep co-engineering between @PlayStation and @AMD, we’re seeing that vision power the PlayStation 5 Pro, delivering higher resolution, higher frame rates, and beautiful visual fidelity for gamers.
At the center of the news is an upgraded version of PSSR (PlayStation Spectral Super Resolution), Sony’s AI-driven upscaling technology. The new version has been co-developed with AMD and is derived from the company’s latest FSR 4 upscaling technology. Sony says the improved PSSR will roll out soon, with Resident Evil Requiem confirmed as the first game to support it. The update is said to bring sharper image quality, reduced ghosting, and better detail reconstruction compared to the original version.
A glimpse at the future of console graphics
The new PSSR update is not just a small tweak. Sony describes it as the result of months of additional refinement built on top of AMD’s FSR 4 technology. That matters because upscaling has become one of the most important tools in modern gaming, allowing consoles to deliver higher resolutions and smoother frame rates without requiring dramatically more powerful hardware. Instead of brute-force rendering every pixel, AI-assisted upscaling reconstructs high-resolution images from lower-resolution frames. The result is better performance while still delivering near-native visual quality.
Sony
For PS5 Pro owners, this upgrade could mean clearer visuals, better performance, and more future-proof graphics as new games begin adopting the updated PSSR technology. And because the upgrade is system-level, it has the potential to benefit multiple upcoming titles rather than being limited to a single release. As Sony and AMD continue to work together, the PS5 Pro may end up feeling more like a living platform that improves over time. With the PS6 reportedly pushed further down the road, it’s reassuring to see the PS5 Pro getting a meaningful performance boost in the meantime.
AI agents now carry more access and more connections to enterprise systems than any other software in the environment. That makes them a bigger attack surface than anything security teams have had to govern before, and the industry doesn’t yet have a framework for it. “If that attack vector gets utilized, it can result in a data breach, or even worse,” said Spiros Xanthos, founder and CEO of Resolve AI, speaking at a recent VentureBeat AI Impact Series event.
Traditional security frameworks are built around human interactions. There’s not yet an agreed-upon construct for AI agents that have personas and can work autonomously, noted Jon Aniano, SVP of product and CRM applications at Zendesk, at the same event. Agentic AI is moving faster than enterprises can build guardrails — and Model Context Protocol (MCP), while decreasing integration complexity, is making the problem worse.
“Right now it’s an unsolved problem because it’s the wild, wild West,” Aniano said. “We don’t even have a defined technical agent-to-agent protocol that all companies agree on. How do you balance user expectations versus what keeps your platform safe?”
MCP still “extremely permissive”
Enterprises are increasingly hooking into MCP servers because they simplify integration between agents, tools and data. However, MCP servers tend to be “extremely permissive,” he said.
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They are “actually probably worse than an API,” he contended, because APIs at least have more controls in place to impose upon agents.
Today’s agents are acting on behalf of humans based on explicit permissions, thus establishing human accountability. “But you might have tens, hundreds of agents in the future with their own identity, their own access,” said Xanthos. “It becomes a very complex matrix.”
Even as his startup is developing autonomous AI agents for site reliability engineering (SRE) and system management, he acknowledged that the industry “completely lacks the framework” for autonomous agents.
“It’s completely on us and to anybody who builds agents to figure out what restrictions to give them,” he said. And customers must be able to trust those decisions.
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Some existing security tools do offer fine-grained access — Splunk, for instance, developed a method to provide access to certain indexes in underlying data stores, he noted — but most are broader and human-oriented.
“We’re trying to figure this out with existing tools,” he said. “But I don’t think they’re sufficient for the era of agents.”
Credit: Michael O’Donnell, ShinyRedPhoto
Who’s accountable when an AI mis-authenticates a user?
At Zendesk and other customer relationship management (CRM) platform providers, AI is involved in a number of user interactions, Aniano noted — in fact, now it’s at a “volume and a scale that we haven’t contemplated as businesses and as a society.”
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It can get tricky when AI is helping out human agents; the audit trail can become a labyrinth.
“So now you’ve got a human talking to a human that’s talking to an AI,” Aniano noted. “The human tells the AI to take action. Who’s at fault if it’s the wrong action?” This becomes even more complicated when there are “multiple pieces of AI and multiple humans” in the mix.
To prevent agents from going off the rails, Zendesk tends to be “very strict” about access and scope; however, customers can define their own guardrails based on their needs. In most cases, AI can access knowledge sources, but they’re not writing code or running commands on servers, Aniano said. If an AI does call an API, it is “declaratively designed” and sanctioned, and actions are specifically called out.
However, customer demand is flooding these scenarios and “we’re kind of holding the gates right now,” he said.
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The industry must develop concrete standards for agent interactions. “We’re entering a world where, with things like MCP that can auto-discover tools, we’re going to have to create new methods of safety for deciding what tools these bots can interact with,” said Aniano.
When it comes to security, enterprises are rightly concerned when AI takes over authentication tasks, such as sending out and processing one-time passwords (OTP), SMS codes, or other two-step verification methods, he said. What happens if an AI mis-authenticates or misidentifies someone? This can lead to sensitive data leakage or open the door for attackers.
“There’s a spectrum now, and the end of that spectrum today is a human,” Aniano said. However, “the end of that spectrum tomorrow might be a specialized agent designed to do the same kind of gut feeling or human-level interaction.”
Customers themselves are on a spectrum of adoption and comfort. In certain companies — particularly financial services or other highly-regulated environments — humans still must be involved in authentication, Aniano noted. In other cases, legacy companies or old guards only trust humans to authenticate other humans.
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He noted that Zendesk is experimenting with new AI agents that are “a little more connected to systems,” and working with a select group of customers around guardrailing.
Standing authorization is coming
In some future, agents may actually be more trusted than humans to do some tasks, and granted permissions “way beyond” what humans have today, Xanthos said. But we’re a long way from that, and, for the most part, the fear of something going wrong is what’s holding enterprises back.
“Which is a good fear, right? I’m not saying that it is a bad thing,” he said. Many enterprises simply aren’t yet comfortable with an agent doing all steps of a workflow or fully closing the loop by itself. They still want human review.
Resolve AI is on the cusp of giving agents standing authorization in a few cases that are “generally safe,” such as in coding; from there they’ll move to more open-ended scenarios that are not all that risky, Xanthos explained. But he acknowledged that there will always be very risky situations where AI mistakes could “mutate the state of the production system,” as he put it.
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Ultimately, though: “There’s no going back, obviously; this is moving faster than maybe even mobile did. So the question is what do we do about it?”
What security teams can do now
Both speakers pointed to interim measures available within existing tooling. Xanthos noted that some tools — Splunk among them — already offer fine-grained index-level access controls that can be applied to agents. Aniano described Zendesk’s approach as a practical starting point: declaratively designed API calls with explicitly sanctioned actions, strict access and scope limits, and human review before expanding agent permissions.
The underlying principle, as Aniano put it: “We’re always checking those gates and seeing how we can widen the aperture” — meaning don’t grant standing authorization until you’ve validated each expansion.
United States Secretary of Defense Pete Hegseth directed the Pentagon to designate Anthropic as a “supply-chain risk” on Friday, sending shockwaves through Silicon Valley and leaving many companies scrambling to understand whether they can keep using one of the industry’s most popular AI models.
“Effective immediately, no contractor, supplier, or partner that does business with the United States military may conduct any commercial activity with Anthropic,” Hegseth wrote in a social media post.
The designation comes after weeks of tense negotiations between the Pentagon and Anthropic over how the US military could use the startup’s AI models. In a blog post this week, Anthropic argued its contracts with the Pentagon should not allow for its technology to be used for mass domestic surveillance of Americans or fully autonomous weapons. The Pentagon asked that Anthropic agree to let the US military apply its AI to “all lawful uses” with no specific exceptions.
A supply chain risk designation allows the Pentagon to restrict or exclude certain vendors from defense contracts if they are deemed to pose security vulnerabilities, such as risks related to foreign ownership, control, or influence. It is intended to protect sensitive military systems and data from potential compromise.
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Anthropic responded in another blog post on Friday evening, saying it would “challenge any supply chain risk designation in court,” and that such a designation would “set a dangerous precedent for any American company that negotiates with the government.”
Anthropic added that it hadn’t received any direct communication from the Department of Defense or the White House regarding negotiations over the use of its AI models.
“Secretary Hegseth has implied this designation would restrict anyone who does business with the military from doing business with Anthropic. The Secretary does not have the statutory authority to back up this statement,” the company wrote.
The Pentagon declined to comment.
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“This is the most shocking, damaging, and over-reaching thing I have ever seen the United States government do,” says Dean Ball, a senior fellow at the Foundation for American Innovation and the former senior policy advisor for AI at the White House. “We have essentially just sanctioned an American company. If you are an American, you should be thinking about whether or not you should live here 10 years from now.”
People across Silicon Valley chimed in on social media expressing similar shock and dismay. “The people running this administration are impulsive and vindictive. I believe this is sufficient to explain their behavior,” Paul Graham, founder of the startup accelerator Y Combinator said.
Boaz Barak, an OpenAI researcher, said in a post that “kneecapping one of our leading AI companies is right about the worst own goal we can do. I hope very much that cooler heads prevail and this announcement is reversed.”
Meanwhile, OpenAI CEO Sam Altman announced on Friday night that the company reached an agreement with the Department of Defense to deploy its AI models in classified environments, seemingly with carveouts. “Two of our most important safety principles are prohibitions on domestic mass surveillance and human responsibility for the use of force, including for autonomous weapon systems,” said Altman. “The DoW agrees with these principles, reflects them in law and policy, and we put them into our agreement.”
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Confused Customers
In its Friday blog post, Anthropic said a supply chain risk designation, under the authority 10 USC 3252, only applies to Department of Defense contracts directly with suppliers, and doesn’t cover how contractors use its Claude AI software to serve other customers.
Three experts in federal contracts say it’s impossible at this point to determine which Anthropic customers, if any, must now cut ties with the company. Hegseth’s announcement “is not mired in any law we can divine right now,” says Alex Major, a partner at the law firm McCarter & English, which works with tech companies.
The Rivian showroom at University Village in Seattle in 2025. (GeekWire Photo / Kurt Schlosser)
With the threat of a ballot initiative looming, a slate of auto dealers in Washington have come out in support of EV makers Rivian and Lucid Motors in their pursuit of direct sales to consumers.
Electric automakers have fought for years to change the state law that only allows Tesla to directly sell cars, operate showrooms and offer test drives to potential customers in Washington. The rule exists to prevent manufacturers from competing against franchised dealerships.
In December, Rivian began taking steps to put the issue before voters this fall — an action that could exclude dealers from having a say in how the new rules are drafted.
On Friday afternoon, the Senate Committee on Transportation will consider Senate Bill 6354, which carves out a narrow exemption that applies to Rivian and Lucid, but excludes smaller EV makers and any new entrants to the market.
Multiple local dealership owners testified on Tuesday in favor of the recently introduced measure — but they also offered caveats and concerns.
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“I believe that SB 6354 provides a fair compromise and gives legal status to non-franchise EV manufacturers while keeping the guardrails in place to prevent abuse by our franchise manufacturers,” said Greg Rairdon, whose family owns 13 franchise dealerships in Western Washington.
He warned that further opening of direct sales to automakers would give manufacturers an insurmountable competitive advantage and force his and similar businesses to close up shop.
Oregon, California, Idaho, Arizona, Nevada and most other Western states allow all EV manufacturers to offer direct sales. Because Rivian and Lucid don’t offer their vehicles through traditional dealers, consumers have needed to make their purchases online and get them delivered, or travel out of state to shop.
Abigail Ramsden, western state policy manager for Rivian, gave an enthusiastic endorsement of the bill.
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The legislation ensures “we can provide seamless customer service,” she said. “Rivian welcomes the opportunity to operate within a clear regulatory framework.”
Two years ago, EV auto companies and environmental groups pushed hard for legislation opening up direct sales. After that failed, Rivian launched a campaign dubbed the Washington Coalition for Consumer Choice and Innovation to put the issue to voters through a fall ballot initiative.
Rivian pledged nearly $4.7 million for the effort, and has spent $270,000, according to state records. The organization has not filed proposed language for an initiative. It would need to collect and submit at least 308,911 voter signatures by early July to be included on the November ballot.
If SB 6354 passes, those actions won’t be necessary. But not all dealers and automakers back the move.
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“If the Legislature really believes that the franchise model provides benefits to communities, then why would the state ever entertain any concept like this that would create the erosion of those benefits by exempting some companies,” said Curt Augustine, senior director of state affairs of the Alliance for Automotive Innovation, in testimony this week.
Augustine also expressed his frustration in having the bill sprung upon him unannounced and without the opportunity to engage in negotiations. Craig Orlan, a government affairs director for the American Honda Motor Company, likewise shared his opposition.
“I’m disappointed to see several dealers supporting this legislation, which signals a slow erosion of a franchise system that has proven to be beneficial for manufacturers, dealers and consumers,” Orlan said. “In addition to those benefits, this model has also proven to be highly effective at selling and servicing electric vehicles.”
Beyond allowing the two EV makers to join Tesla in selling their vehicles directly to consumers, SB 6354 would:
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Increase the vehicle dealer documentary service fee from $200 to $250 until Dec. 31, 2036.
Of the $50 increase, a portion would be allocated to the Electric Vehicle Account for instant rebates granted to low income households and to the Multimodal Transportation Account, which helps fund public transit, bike and pedestrian infrastructure and other travel.
SB 6354 has missed legislative cutoffs that apply to most bills, but because it includes a fee related to state funds it’s considered necessary to implement the budget and is exempt from most deadlines.
The legislative session is scheduled to end on March 12.
One of the unfortunate knock on effects of being generally insufferable is that many people don’t want to be associated with you in any way. And when you’re both insufferable and happen to be the most divisive American political figure in modern history, all the more so. And that is certainly why, during both of the Donald Trump presidential campaigns, it became common practice for musical artists to complain about his “unauthorized” use of their music at his campaign events.
Now, as this site has posted out a zillion times in the past, many of the complaints from artists are unfounded. Often, the use of the music in question was authorized through blanket performance licenses held by the venues for the rallies. While it should be obvious that best practice would be for candidates like Trump to seek permission to use music just to avoid any public complaining and backlash for that use, there is no real copyright claim to be had in those instances. Lots of people get this wrong.
Where that gets thrown for a loop is when it comes to sound recordings from before 1972. Here’s how Mike described it all back in 2016.
Copyright law is so screwed up that there actually may be a case where the law does require permission. And it has to do with pre-1972 sound recordings. If you’ve been reading Techdirt for any length of time, you know that we’ve discussed this issue many times in the past. Historically, while compositions were covered by copyright, under the 1909 Copyright Act sound recordings were not. This resulted in a patchwork of state laws (and state commonlaw) that created special forms of copyright at the state level. Eventually, sound recordings were put under federal copyright law, but it only applied to works recorded after February 14, 1972. Works recorded before that are not under federal copyright law, but remain basically the only things under those state copyright laws (the 1976 Copyright Act basically wiped out state copyright laws for everything but that one tiny thing).
The issue is not that simple, because nothing around this particular issue is simple. However, based on at least some of the rulings in pre-1972 sound recording copyright cases, federal copyright law doesn’t apply at all to those songs (other court opinions have come out otherwise). And thus, there’s an argument that the requirements involving blanket licenses for pre-1972 sound recordings may not apply, because the use of the sound recording may require a special public performance license from the copyright holder
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And so now we have a decade or so of courts trying to figure this out. The outcomes of court cases are every bit as patchwork as the state laws that inform their outcomes. Add to all of this that even some of the blanket licenses from the likes of ASCAP include opt-outs for political campaigns and the like and it’s easy for all kinds of mistakes to be made.
Mistakes don’t really explain the rash of instances of artists complaining about Trump’s usage, however. He’s been through this so many times, in fact, that it seems obvious that he and his people simply don’t care to try to secure permission. I doubt they even looked into whether they needed to. And the onus to understand what licensing is needed is certainly on their shoulders and nobody else’s. That’s how you get Pharrell clapping back on Trump’s use of his music at an insane rally shortly after a nationalist murdered 11 people in Pittsburgh (the venue didn’t have a license from the artist’s rights management of choice). Or his campaign losing a copyright suit to Eddy Grant for the use of his music in a campaign video.
And, now, it’s also how you get the Trump campaign to settle a suit brought by the estate of Isaac Hayes over the song he co-wrote, Hold on, I’m Comin’, performed by Sam & Dave.
Hayes’ son and estate manager, music producer Isaac Hayes III, says in a Monday (Feb. 23) Instagram statement that the lawsuit “has been mutually resolved, and we are satisfied with the outcome.” Financial terms of the settlement were not disclosed.
“This resolution represents more than the conclusion of a legal matter,” writes Hayes III in his statement. “It reaffirms the importance of protecting intellectual property rights and copyrights, especially as they relate to legacy, ownership and the responsible use of creative works.”
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It will surprise nobody that I would love to debate most of what appears in that quote from Hayes III, but that is a separate matter entirely. Instead, my focus is on two undeniable realities. First, the chaos that has been created with these older, pre-1972 song recordings is insane, complicated, and needlessly convoluted. Whoever thought this setup was a good idea should be placed in a facility under constant care.
Second, Trump almost certainly committed copyright infringement, the above complaint notwithstanding. And he’s been through enough of these that he could very easily tell his people to just go get the proper permissions for any music that is played at his little fascism pep rallies. While the settlement terms go undisclosed, which is always annoying, I’ve seen enough of these to be able to read between the lines. The Hayes estate got its pint of blood, at a bare minimum.
Wouldn’t it just be easier to get artists that like you to let you play their music at your events, Donald? There were at least a few artists at that emotional support half time show that nobody watched that you could choose from.
Supabase, a popular developer database platform, is facing disruptions in India — one of its key markets — has been blocked in India, TechCrunch has learned. New Delhi ordered internet providers to block its website, resulting in patchy access across networks.
The blocking order was issued on February 24 under Section 69A of India’s Information Technology Act, according to a source familiar with the matter. The provision empowers the government to restrict public access to online content.
The Indian government did not publicly cite a reason for the move, and it was not immediately clear whether the action was linked to a cybersecurity concern, copyright complaint, or another issue. It was also unclear how long the restrictions would remain in place.
Access to Supabase has been inconsistent in India over the past several days, with the San Francisco-based company acknowledging the issue in posts on social media starting Wednesday. While the restrictions were first reported by Supabase on Reliance Industries’ JioFiber network, users have since flagged similar problems across multiple internet providers and telecom networks. In one post on Friday, Supabase tagged India’s IT minister Ashwini Vaishnaw, asking him to intervene and restore access, though the company later removed the message and said in a subsequent update that the site remained blocked for many users in the country.
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We understand many users in India continue to be blocked from accessing Supabase. We acknowledge the difficulties this is causing for our users there. Supabase continues to follow up through all available channels to resolve this issue.
An Indian founder, who asked not to be named to avoid potential repercussions, told TechCrunch they had stopped seeing new user sign-ups from India over the past two to three days. A technology consultant working with local startups, who spoke on condition of anonymity, said they were unable to reliably access Supabase for both development and production purposes.
While Supabase suggested workarounds such as switching DNS settings or using a VPN (which reroute internet traffic to bypass local restrictions), the founder said such steps were not practical for most end users.
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At the time of publication, TechCrunch was able to verify that supabase.co remained inaccessible on ACT Fibernet, JioFiber and Airtel connections in New Delhi. However, two users on ACT Fibernet in Bengaluru said they were still able to access the service, suggesting the restrictions may be unevenly implemented.
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A screenshot showing Supabase’s access blocked on ACT FibernetImage Credits:Screenshot / Jagmeet Singh / TechCrunch
Notably, Supabase’s main website remained accessible in India — but its underlying developer infrastructure did not.
India is Supabase’s fourth-largest source of traffic, accounting for about 9% of global visits, according to data from Similarweb, highlighting the potential fallout for the country’s developer ecosystem. The platform’s global traffic jumped more than 111% year over year to about 4.2 million visits in January. In India, visits rose roughly 179% to about 365,000, compared with a 168.5% increase in the U.S. to about 627,000.
The incident highlights broader concerns about India’s website blocking regime, said Raman Jit Singh Chima, Asia Pacific policy director at Access Now.
“This is a simple fact that has grave consequences for developers and others,” he told TechCrunch. “You don’t know where you can safely run projects without the danger that something might happen where it gets blocked, and suddenly you’re scrambling to find a way.”
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India has previously faced criticism over broad website blocking measures. In 2014, authorities briefly restricted access to developer platform GitHub, along with services such as Vimeo, Pastebin and Weebly, during a security probe. Users on some Indian networks in 2023 also reported that a key GitHub content domain had been blocked by certain ISPs, according to earlier reports.
Founded in 2020 by CEO Paul Copplestone and CTO Ant Wilson, Supabase positions itself as an open-source alternative to Firebase built on PostgreSQL. The startup has gained traction amid rising interest in so-called “vibe coding” tools and AI-driven app development, and has raised about $380 million across three funding rounds since September 2024, lifting its valuation to $5 billion.
India’s Ministry of Electronics and IT, as well as telecom providers including ACT Fibernet, Bharti Airtel, and Reliance Jio, did not respond to requests for comment. Copplestone and Wilson also did not respond.
As Apple hits 50 years old, AppleInsider recounts the pivotal role of each of its CEOs, starting with the very first one, Michael Scott. He made bold choices, but he made them badly.
Michael Scott, age unknown — image credit: Business Insider
Steve Jobs was not Apple’s first Chief Executive Officer. While he founded the company on April 1, 1976, with Steve Wozniak and Ronald Wayne, Jobs had no experience running what was aiming to become a large company. So a CEO was needed, but actually Apple’s first two chief executives are tightly interlinked. Mike Markkula would become the second one, but he hired the first — and then later persuaded that first to leave. Continue Reading on AppleInsider | Discuss on our Forums
BenQ’s W2720i projector proves that you actually can be a jack and master of all trades
Excellent built-in smarts
Impressive picture performance with all sources
Strong value for money
Occasional HDR clipping
Lacks a straightforward Game preset
Integrated sound system is rather perfunctory
Key Features
DLP LED lighting
Using LED lamps to light the W2720i is claimed to deliver a huge 30,000 hours of uninterrupted viewing without any lamp replacement. Cooling noise is claimed to be reduced, too.
4K HDR support
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The W2720i uses DLP’s XPR technology to play 4K sources, and supports the HDR10, HLG and even HDR10+ HDR formats.
Built-in Android TV smarts
The ‘i’ bit at the end of the W2720i’s name alerts us to the fact that it is a ‘smart’ projector, in this case powered by Android TV.
Introduction
Most projectors fall pretty squarely into one of two camps.
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They’re either serious home cinema projectors designed for dark rooms and shorn of such ‘froth’ as built-in sound and smart streaming systems, or else they’re living room projectors designed to work in less than ideal viewing conditions with lots of convenience features but potentially compromised picture performance.
And experience suggests that projectors such as the BenQ W2720i that try to cross that divide tend to come a bit of a cropper.
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So can this £1799 BenQ mid-ranger buck that unfortunate crossover trend? Or is it more proof that when it comes to projection you really do need to pick a side and stick with it?
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Design
Clever blend of lifestyle and ‘serious’ features
Backlit buttons on the remote
Recessed lens to reduce potential damage
The W2720i’s design cunningly straddles the dedicated theatre and living room projector worlds. It’s a bit bigger than most living room projectors, but not as enormous as many of the best home theatre projectors, while its gloss-free mid grey exterior with its textured top and sides treads a tidy line between no-nonsense seriousness and living room appeal.
Image Credit (Trusted Reviews)
The W2720i’s rounded edges and corners give it a soft but not frivolous look, and the projector is weighty enough to feel like it has some quality innards inside without being so heavy that you can’t pretty easily move it around your home or put it away and get out again if you only want to use it from time to time.
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The remote control continues the mix of serious and lifestyle by combining an attractive rounded shape and glossy white finish with a thoughtful button layout and backlighting behind the buttons that means you can still see what they do even in a blacked out movie room.
User Experience
Ergonomic and backlight remote control
Google Voice search and Google Assistant enabled
Familiar Android TV core interface
The W2720i is more straightforward and flexible to use than many projectors. For starters, as well as its remote being comfortable to hold and sporting backlit buttons it carries a built in mic so that you can send spoken search terms to the projector using Android TV’s Google Assistant system.
The Android TV menus will be familiar to many through the system’s popularity as a TV smart platform, and they’re visual enough in their approach to be fairly straightforward for novices to learn their way round.
Android TV is not as clever at tracking your viewing habits and making relevant recommendations as some smart systems, but it’s still more than you find on most ‘serious’ projectors.
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BenQ’s own projector set up and control menus can be accessed separately to the Android TV interface, saving you from having to go through Android TV for every little tweak, and they’re pretty straightforward in structure and rich in options.
One final way of controlling the W2720i is a row of control buttons at the back of the projector’s right hand side for those times when the remote control has been swallowed by a black hole again.
Features
4K HDR playback
4K/120Hz gaming support
LED lighting with 30,000 hours of lamp life
The W2720i has a lot going on for a projector you can buy at the time of writing for £1799 / $2499.
Starting with its use of an LED lighting system to illuminate its DLP-type optics. This yields such advantages as a 30,000-hour claimed maintenance-free lifespan, reduced cooling fan noise, and a few startling specifications including a claimed 2,000,000:1 dynamic contrast ratio and coverage of up to 90% of the DCI-P3 colour spectrum used in most HDR mastering.
The W2720i’s maximum brightness is quoted at 2500 lumens. That’s down a fair bit on the sort of figures I’m seeing from more single-mindedly living room focused projectors these days – but it’s very in line with the sort of figures we tend to get with dedicated home theatre projectors.
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The W2720i’s home theatre appeal is further bolstered by its provision of a Filmmaker Mode, designed to meet the requirements of the UHD Alliance to provide consumers with a simple shortcut to seeing content as it was designed to look by its creators. The projector even ships having already received a factory calibration, too.
In keeping with the W2720i’s apparent desire to be all things to all AV fans, it also has plenty of appeal to casual users. On the picture front there’s a series of presets that target a more dynamic, richly saturated picture presentation than the Filmmaker Mode provides, and a handy HDR Pro option works, like the HDR dynamic tone mapping systems found in TVs, to continually optimise the presentation of HDR images to the projector’s capabilities.
Unusually, the W2720i’s bid to fit into the casual as well as home theatre projector worlds sees it carrying an AI Cinema Mode option that takes ambient room conditions into account as well as analysing image content when figuring out how best to display whatever you’re watching.
Set up is simplified, meanwhile, by a screen fit system that automatically matches the projector’s images to the size of your screen. Manual focus and (1.3x) zoom facilities are provided under a sliding cover above the lens barrel, along with a vertical optical image shift wheel. The projector’s menus further provide the option to correct the image’s geometry via eight adjustable points.
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Image Credit (Trusted Reviews)
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A CineMaster submenu provides a selection of image processing options for enhancing colours, sharpness, motion fluidity, and contrast. These features work with varying degrees of success, and all need to be approached with caution since they can start to have a detrimental effect on picture quality if pushed too hard. Overall, though, they’re worth at least experimenting with.
The W2720i’s connections include an impressive three HDMI ports rather than the two most projectors are limited to, as well as two useful USB ports (one offering power for video streaming sticks), an optical digital audio output, a 3.5mm audio output, plus RS-232C and 12V trigger ports to aid integration of the W2720i into a wider integrated control system.
There’s also built-in Wi-Fi support to feed the Android TV smart system, and it turns out that one of the three HDMI inputs can handle 4K/120Hz game feeds from PS5 and Xbox Series X consoles – though the HFR support doesn’t extend to variable refresh rates. You can also use one of the HDMI inputs to pass sound, even Dolby Atmos soundtracks, to audio devices compatible with HDMI’s audio return channel (ARC) feature.
Image Credit (Trusted Reviews)
Android TV is better implemented on the W2720i than it is on most projectors. It’s slicker and more stable, and features better integration of the main streaming apps than most projectors manage. In other words, most of the key apps are aware of the capabilities (4K, HDR, HDR10+) of the projector they’re installed on and can adapt their performance accordingly.
Such integration is actually a key feature when it comes to getting a consistently good performance from an online projector.
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While the W2720i’s Android TV system supports most of the big global streaming services, such as Netflix, YouTube, Prime Video, Disney+ and Apple TV, it doesn’t carry all of the UK terrestrial broadcaster catchup apps. There’s no BBC iPlayer, Channel 4 or ITVX support. If you want these you’ll need to add an external streaming device.
Wrapping up a generally impressive ‘crossover’ projector feature count are support for 3D for anyone still invested in that, and HDR support that extends, as noted in passing earlier, to the HDR10+ HDR format. HDR10+ provides compatible devices with extra scene by scene image information to help displays deliver more accurate results.
Picture Quality
Impressive contrast and colour
Outstanding sharpness and detail
Unusually excellent streaming picture quality
Concerns that the W2720i’s apparent desire to appeal to both premium home theatre fans and living room users might leave its picture performance stuck between two stools evaporate almost instantly. This really is a projector that can deliver the goods pretty much wherever you want to use it.
The first thing that struck me about the W2720i’s pictures was how phenomenally sharp and detailed they look. Its optical engine doesn’t deliver a ‘true’ 4K performance in the sense of a dedicated DLP mirror for each pixel in a 4K picture, but the Texas Instruments XPR pixel shifting/repeat mirror ‘flashing’ per frame system yields such dense, sharp and detailed images that it’s hard not to agree with the Consumer Technology Association’s assertion that what you’re seeing is actually 4K.
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The purity and density of the image means it holds up well at really large screen sizes, as well as helping to paint an impressively three-dimensional world even when you’re not actually making use of the projector’s 3D capabilities.
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There’s nothing forced about this sharpness either, so long as you don’t become too enthusiastic with the CineMaster Pixel Enhancer feature. Instead it just feels like the natural result of multiple elements of the W2720i’s pictures working in perfect harmony.
Colour, for instance, as well as being vibrant and rich are also full of nuance and tonal shifts so subtle that they’re able to achieve the same sort of finesse you might hope to see on a top quality 4K TV screen. All without any noise or striping/banding interference.
This helps objects in a picture take on a more solid, authentic look, as well as underlining the sense of fine detail and texture.
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Credible colour saturations are retained in dark sequences too, avoiding the washed out effect or green tinge that some projectors suffer with when showing such scenes, while skin tones look consistently impressively natural and nuanced regardless of whether they’re appearing in a bright or dark setting.
No colours feel out of kilter with any others, either. They all seem to be singing from the same colour spectrum hymn sheet, with no tone feeling too strong or weak. This again plays a big part in enabling the W2720i’s pictures to achieve as much subtlety and insight as they do.
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Calman Ultimate HDR ColorChecker tests reveal a DeltaE 2000 average error score of 4.61 in the all-round most engaging HDR10 picture preset, which is admirably close to the three or less average error level where even a trained eye can’t detect deviations from the established industry video standards. This DeltaE 2000 average error figure drops to just 3.4 with SDR content, too.
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Image Credit (Trusted Reviews)
The W2720i’s handling of light is exemplary for a sub-£2k projector. Bright HDR scenes look if anything more punchy than you might expect from the claimed 2,500 lumens of maximum brightness – an impression bolstered by the projector’s ability to retain deeper black colours during dark scenes than most HDR-friendly projectors while simultaneously retaining plenty of subtle shadow details.
This combination of bright HDR, convincing black tones and subtle dark details really is a hard mix for projectors to achieve, yet the W2720i makes it look easy.
The W2720i also handles motion well, even with the 24fps films that might well make up much of such a talented projector’s content diet. Judder never looks exaggerated even with no motion processing in play – though if you do fancy making things look a little smoother, the gentlest of BenQ’s motion options takes the edge off judder without smoothing things out so much that films start to look like Eastenders.
The W2720i adapts to SDR effortlessly if no HDR version of something you want to watch is available, and turns out to be a fantastically enjoyable big-screen gaming display – despite the fact that it doesn’t support variable refresh rates and, oddly, doesn’t provide a dedicated Game preset. Its innate crispness and vibrancy plays perfectly with today’s game graphics, and if you set the projector’s processing system to Fast and then follow the further instructions the projector issues regarding essentially turning off as many processing options as possible, the time the W2720i takes to render images drops to just 17.8ms – a very game-friendly result by projector standards.
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One final area where the W2720i’s pictures stand out is with the quality of its streaming. I’ve never seen images from a built-in projector smart system that look as clean, 4K (where a 4K stream is available), precise and natural. Netflix in particular looks gorgeous. This is a big deal considering how many people now use streamed video as their main movie source.
The W2720i’s picture are so good for its money that it seems almost churlish to mention its one or two limitations. But I guess I wouldn’t be doing my job right if I didn’t, so…
Image Credit (Trusted Reviews)
First, while the W2720i’s HDR presentation does look HDR, it isn’t as full on bright looking as it is with some more aggressive projectors out there. Though I’d argue that, actually, presenting a more compelling light range like the W2720i does, in the sense that there are decent black colours to go with the vibrant colours and peak whites, is overall preferable to just pumping out more brightness.
The ‘hard’ upper limit to the W2720i’s brightness can cause the very brightest, whitest parts of the picture to sometimes suffer with clipping, though, where subtle shading information is essentially bleached out of the picture. Especially if you’re watching in the Filmmaker Mode. Though the sort of content areas that cause this don’t crop up all that often.
Finally, while the W2720i’s dynamic light controls are mostly remarkably assured, consistent and effective without being distracting, just occasionally the projector’s usually impressive black levels can suddenly jump up into greyness if a particularly intense bright highlight suddenly pops into view against a dark backdrop. Especially if you’re using one of the projector’s relatively dynamic picture presets.
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That pretty much wraps up everything I managed to put in the W2720i’s negative column, though – and it’s barely a drop in the ocean of everything the projector gets right.
Sound Quality
2 x 5W system
Limited bass
While building a speaker system inside the W2720i is a nice touch from a convenience perspective, you should only think of it as an audio option of last resort. For one thing it just can’t get very loud. Even cranked up to its maximum setting it sounds too muted and faint to adequately accompany the sort of epic images the projector can produce.
Bass during heavy action scenes or punchy musical moments tends to sound more trapped inside the W2720i’s belly than mid-range and treble sounds, too, leaving it sounding a bit dislocated from the rest of the mix.
Image Credit (Trusted Reviews)
There are a couple of positives to report as well, though. Starting with the fact that while it doesn’t rumble its way out of the W2720i’s ‘cage’ as expansively as I’d like, bass does have a quite rounded tone that stops it sounding thin and wimpy, and also tends to avoid the sort of crackling and drop out issues so rife with underpowered speakers.
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Also, while bass might suffer with locked in syndrome, other frequencies are cast fairly nicely beyond the projector’s chassis, creating a decently substantial and detailed soundstage that’s just missing that key element of heft.
Should you buy it?
Its all-round picture quality is excellent
Regardless of whether you’re watching 4K Blu-rays, streamed video or playing games, or whether you’re watching in a darkened theatre room or regular living room, the W2720i produces beautifully sharp, richly coloured and natural looking images.
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While the W2720i is a good gaming projector, it strangely doesn’t carry a dedicated Game preset – even though it provides you with instructions of how to essentially manually set one up yourself!
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Final Thoughts
The W2720i is arguably the best crossover projector released to date, delivering all the features, set up options and, best of all, picture quality tools and flexibility it needs to straddle the serious home theatre and fun living room gap.
It’s not quite perfect, of course. Its built-in sound doesn’t really do its pictures justice, and every now and then a very bright image highlight might bleach out a bit, or cause surrounding dark areas to momentarily look grey.
A projector this good really deserves to be partnered with an external audio set up, though, and its picture issues, such as they are, are rare enough to be rendered almost meaningless in the context of how good the W2720i is for its money.
How We Test
The BenQ W2720i was tested over two weeks with HDR and SDR content. Image quality was checked objectively with Portrait Displays’ Calman Ultimate software and G1 signal generator, plus the Klein K10-A colorimeter.
Tested for two weeks
Tested with real world content
Also tested with industry-respected objective testing equipment
FAQs
Which HDR formats does the BenQ W2720i support?
As well as the basic HDR10 and HLG formats, the W2720i supports HDR10+, with its extra scene by scene image data.
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What type of projector technology does the BenQ W2720i use?
The W2720i uses LED lighting and a DLP optical system.
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Test Data
BenQ W2720i
Input lag (ms)
17.8 ms
Full Specs
BenQ W2720i Review
UK RRP
£1799
USA RRP
$2499
Manufacturer
BenQ
Size (Dimensions)
420 x 305 x 143 MM
Weight
6.5 KG
Release Date
2025
Resolution
3840 x 2160
Projector Type
DLP projector
Brightness Lumens
2500
Lamp Life
30000
Contrast Ratio
2,000,000:1
Max Image Size
300 inches
HDR
Yes
Types of HDR
HDR10, HLG, HDR10+
Refresh Rate
120 Hz
Ports
Three HDMI inputs, 12V Trigger port, three USB-A ports (one powered, one Service only), RS-232C port, optical digital audio output, 3.5mm line out