Sean Baker’s film Anora won the Palme d’Or at this year’s Cannes Film Festival — the latest in the director’s acclaimed narratives about sex workers that include Tangerine, The Florida Project, and Red Rocket. But Anora might be his most inviting, accessible work yet.
Technology
DJI challenges its ‘Chinese military company’ Pentagon designation in court
DJI has filed a lawsuit against the US Department of Defense over its addition to the Pentagon list that designates it as a “Chinese military company.” In its filing, shared by The Verge, the company said it’s challenging the designation because it’s “neither owned nor controlled by the Chinese military.” It described itself as the “largest privately owned seller of consumer and commercial drones,” mostly used by first responders, fire and police departments, businesses and hobbyists.
The company claimed that because the Pentagon has officially proclaimed it as a national security threat, it has suffered “ongoing financial and reputational harm.” It also said that it has lost business from both US and internal customers, which terminated contracts and refused to enter new ones, and it has been banned from signing contracts with multiple federal government agencies.
DJI explained that it tried to engage with the Department of Defense for over 16 months and submitted a “comprehensive delisting petition” on July 27, 2023 to get the agency to remove its designation. However, the agency allegedly refused to engage in a meaningful way and to explain its reasoning behind adding the company to the list. On January 31, 2024, the DoD redesignated the company without notice, DJI wrote in its complaint. DJI alleged that the DoD only shared its full rationale for its designation after it informed the agency that it was going to “seek judicial relief.”
The company claimed that the DoD’s reasoning wasn’t adequate to support its designation, that the agency confused people with common Chinese names and that it relied on “stale alleged facts and attenuated connections.” DJI is now asking the court to declare the DoD’s actions as unconstitutional, describing the Pentagon’s designation and failure to remove it from the “Chinese military company” list a violation of the law and of its due-process rights.
DJI has long been at the crosshairs of various US government agencies. The Department of Commerce added it to its entity list in 2020, which prevented US companies from supplying it with parts without a license. A year later, it was added to the Treasury department’s “Chinese military-industrial complex companies” list for its alleged involvement in the surveillance of Uyghur Muslim people in China. And just a few days ago, DJI confirmed that its latest consumer drones are being held at the border by US customs, which cited the Uyghur Forced Labor Prevention Act. The drone-maker denied that it has manufacturing facilities in Xinjiang, the region associated with forced Uyghur labor.
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With short-form videos becoming extremely common these days, it’s not unusual to discover new songs and artists from apps like TikTok and Instagram. Now, Instagram has started rolling out a Spotify integration that will let you add songs you hear from posts and Reels straight to the audio streaming app, 9to5Mac has reported. If an Instagram post uses a song, and it’s linked at the bottom of the screen, tap on the song name to go to its audio preview page. There, you’ll find a new button that says “Add” with the Spotify logo right next to the audio scrubber.
When you tap that Add button, the song will get added to the “Liked Songs” in your Spotify library. You’ll have to link your Spotify account with your Instagram the first time you do it, but it becomes a one-tap process after that. The feature is now making its way to all users around the world. Back in August, mobile developer Alessandro Paluzzi found another type of integration between the two apps in development. That feature would allow Instagram users to continuously share what they’re listening to on Spotify, which would appear as notes on top of your profile picture.
TikTok has had the ability to add songs heard from videos to your music streaming library since last year. Its version of the feature works not just with Spotify, but also with Apple Music and Amazon Music.
Presented by Xsolla
Historically, the game industry is a cycle of boom and bust, with ten-year trend cycles. We’ve just emerged from the era dominated by creatives and publishers, marked by mergers and consolidation, to a world where platform holders dominate. Some of them, like Apple, are demanding large platform fees for creators, and taking large legal swings at other platforms in the competitive space. In the real world, games are no longer just about play. An entire generation grew up with multiplayer games as a natural place to socialize, hang out and entertain themselves. Player demand is at an all-time high, but companies are scrambling to find new ways to distribute, monetize and reach customers in this landscape.
“The question is, are you ready for that?” asked Joost van Dreunen, entrepreneur and CEO at Aldora, featured speaker during the fifth stop of the GamesBeat Global Tour in Seattle, presented by Xsolla. “What’s the model we’ll be facing as we go?”
How does the video game industry move forward?
“Given the soft market, the answer, simply put, is that you have to go elsewhere,” van Druenen said. “You have to find other channels where you can entertain, build communities, build audiences, figure out how to reach them and offer them a different entertainment experience than we have before.”
Becoming multi-platform. Large companies, which tend to move slowly, are starting to launch new ways to connect with their players, as the industry starts to think more broadly about what it means to play. Games like Fallout now offer collectibles and trading cards, and both Xbox and Sony are pivoting to a multiplatform publishing model, instead of locking themselves in the traditional distribution channels.
“Is it always successful? Absolutely not. But at least some larger companies are willing to spend their time and money and expose their IP to build this out,” van Druenen added. “When the large platform holders start to think more creatively about different revenue models and different distribution channels, you can set your clock that the industry is shifting. The walled garden model is ending.”
Finding (and charging) your best fans. The ultimate curve model revolves around identifying your whales, your biggest and most loyal fans — and charging them more. Two years ago, the industry was still arguing about a $70 price point for premium games. Nowadays, users happily spend $100 to have the game a week or two earlier, with some exclusive digital assets. Fans want that VIP treatment, the velvet rope and the front seat. Large publishers with premium IPs can command a premium price.
Identifying new and exciting IP. Another key model is bringing more IP into the gaming space, like Lego has been doing for years, to reach a non-endemic audience and bring them into the fold.
Reaching out to mainstream audiences. Along those same lines, large companies are leaning on traditional advertising as games become more normalized as entertainment for anyone. For instance, Genshin Impact announced $6 billion in revenue and is still partnering with McDonald’s.
Embrace fan content. Finally, these days, customer engagement is more than just booster packs and in-game currency – it’s become about supporting the fanbase in making new content. For instance, The Sims, made by one of the largest independent game makers publicly traded in the U.S., is embracing fan creators now, some of whom have been creating skins and items since the first title.
“Any way you slice it, in my mind it’s always about the audience,” van Druenen said. “We can build any kind of game, any kind of revenue model, any kind of device that is super-fast and beautiful. But it’s the people themselves that will tell you what’s what. It’s giving them some degree of ownership, whether that’s organizing events, whether that’s esports or a competitive thing, a fan event. They’re successful components of a long tail, a decades-long strategy. They are the stewards of the brand and the experience overall.”
The future of gaming and innovation
Learn more about the future of the game industry at the next stop of the GamesBeat Global Tour, happening in San Francisco on October 28, as part of GamesBeat Next 2024. GamesBeat Next is a premier gathering for game developers, publishers, investors, executives and industry visionaries. Whether you’re an industry veteran or a rising star, this is the event aimed at redefining your gaming journey, so don’t miss your spot — register now!
And on December 12 in Los Angeles, don’t miss the GamesBeat Insider Series: Hollywood & Games 2024, which will explore the dynamic collaborations between film, music, television and video games. Register here to be part of the conversation.
Request your invite for the GB Global Tour here.
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Anora — or Ani, as she prefers — is a lap dancer at a gentlemen’s club who finds a way out of sex work after she meets the son of a wealthy Russian oligarch named Vanya. Ani (Mikey Madison) and Vanya (Mark Eidelstein) elope, and suddenly a life that used to involve pleasing drunk clients has turned into one of luxury: a mansion to live in, money to spend, and diamonds to wear. But the excesses prove to be fleeting when Ani realizes Vanya has not been entirely forthcoming.
I talked with Sean after Anora’s debut at the New York Film Festival to discuss how he finds his stories, the power of women in his filmography, and how to make a medium-budget film look like a big-budget film.
The following conversation has been edited for length and clarity:
When did you know Anora was going to be the next film that you wanted to make?
There was this eureka moment, where we figured out the main plot. My team was working with a consultant who had more to do with the Russian American community than the sex work community. We were exploring this idea of this young woman who something happened to, something in which she was held as collateral by the Russian mafia because her deadbeat husband owed money. She started to realize, over the course of about 24 hours, that her husband was not the guy she thought she married because he didn’t come to the rescue. Suddenly, she started to gravitate toward the men, her captors, in sort of a Stockholm syndrome thing.
I was intrigued by that idea, but I didn’t want to tell a mafia film. I didn’t want to make a gangster movie, so I was trying to figure out, what else would put her in that situation? I was on Zoom with this consultant when I said, “How about if she just marries the son of a Russian oligarch?” And she laughed out loud when I said that, and I knew then that I struck something. It was that moment where we said, “We got it. That’s it. Now let’s just go and write this thing.”
A lot of the stories you’ve told are rooted in the power of women. What about those stories is important to you?
My films are often just reactions to what I’m not seeing enough of in film and TV or what I want to see more of. I’m not the first to have an empathetic approach to sex work — definitely, not the first — but I don’t see a lot of it, and it’s few and far between. Often, when I see sex workers depicted, they’re usually supporting characters or the caricatures, and it has become more and more conscious. It has become a conscious decision of mine with each film, more so really to tell a universal story with a fully fleshed out, three-dimensional character, who is a sex worker, in order to just sort of… I wouldn’t say normalize, but there it is, I guess. My subversive tactic here is to really get audiences to think of sex work in a different way, to help for those who do see it with that eye of stigma, to chip away at that.
Anora feels as much like a big-budget film to me as it does kind of this “Fuck you, watch me” kind of film. How did you pull that off?
I had a slightly bigger budget than The Florida Project. When you make these movies, in order to compete with anything that the studios are making or even the mini-studios are making, you have to put all that money on the screen. You have to make a $6 million film look like a $50 million film that Hollywood would produce. So we put it all on the screen, and we always shoot on location, and we have multiple locations. I think that that’s the big difference. A lot of indie films, I guess there’s this thing where it’s like, “Oh, you’re making a film under a certain budget? Make it a two-header, put them in an apartment, and they never leave the apartment.” You know what I mean? And so, I fight against that.
I also have ensemble casts. That’s very important to me, mostly for creative, because I just love to see an ensemble cast come together in a very chaotic, confrontational way, and to see all these different personalities at play, but also because it does add to production value, too. A big cast feels bigger.
The film opens at a club called Headquarters in Manhattan. What drew you to that location?
I wanted to explore this new wave of gentlemen’s clubs, which are basically lap dance clubs, because they’re so unique. It’s something new that I haven’t seen portrayed in film and TV yet. There’s a whole level of intimacy that comes with this different type of gentleman’s club. It also hearkens back to something I’ve always been intrigued by. In World War I, they had these things called a Dime a Dance, when soldiers would come into a city when they were on leave and they would pay a young woman to dance with them for a dime.
This is the 2020s version of a Dime a Dance, and I just find it fascinating, the way that there’s so much psychology involved. It’s totally different from just dancing on a pole on a stage. I mean, the interaction, the transactional thing that goes on, is so interesting. These young dancers, they’re either approaching a client or having a client approach them. Within seconds, they have to read that man and try to figure out, “Okay. How do I adjust my performance in order to get this person to spend money on me and perhaps take him to a private [place]?” It’s a real hustle, but it involves psychology. It involves the dancer to be exactly tuned to what that person is going through or thinking.
Let’s talk about the ending. Can you talk about how important it is for you to stick the landing on a film?
Well, endings for me are number one. They’re the most important thing. It’s what you’re leaving the audience with. It’s what they’re going to be talking about minutes later when they leave the theater, and I always have to come up with the ending before even putting one word on paper. I have the beginning, middle, and end, and I figure out that ending, first and foremost. In this case, it was very stressful because I was asking for a lot.
Technology
Apple not giving the iPhone 16 this one crucial feature is another example of its worst habit
After five joyous years as an Android user, curiosity got the best of me – I’ve been using an iPhone 15 for the last week or so to re-immerse myself in iOS and offer stronger contributions to our iPhone coverage.
Overall, I’ve been impressed by last year’s base-model iPhone. A lot has certainly changed since I parted with my iPhone 5S in 2019, and in the ten years between the launch of the iPhone 5S and iPhone 15, Apple has improved the iPhone in nearly every way, from the screen size (4 inches to 6.1 inches) to the battery life (a couple of hours to nearly all day) and connectivity (USB-C!).
Regrettably, there remains one thing that Apple did not improve in the decade of development between my previous and present iPhone, and it’s not been fixed with the new iPhone 16 and iPhone 16 Plus either.
In the world of Android, 120Hz is the new normal for flagship and high-end phone displays, while budget options are commonly equipped with 120Hz or 90Hz displays. These days, 60Hz displays are the preserve of tablets and the cheapest budget phones. The iPhone 16 and iPhone 16 Plus are, by modern standards, complete oddballs.
The 60Hz debacle has been a focus of debate here at TechRadar for years now; “Please, Apple – don’t do this to the iPhone 15” wrote Managing Editor for Mobile Computing Roland Moore-Colyer in the run-up to the phone’s launch back in 2023, and Phones Editor Axel Metz found that 120Hz changed his entire outlook on iPhones when he switched to the iPhone 15 Pro.
Apple is more than capable of producing high refresh rate phone displays, as the ProMotion displays on the iPhone 16 Pro and iPhone 16 Pro Max demonstrate. In my experience, the smaller the screen, the more the benefit of a higher refresh rate is felt, as your eye has less space to work with to accommodate jagged motion.
To me, this is simply the most egregious example of Apple’s famously blunt product stratification strategy.
There is simply no user benefit to fitting iPhones with 60Hz displays, and the Samsung Galaxy S24 shows us that a company can deliver a flagship phone with a 120Hz display for $799, the same price as the iPhone 16. This partially counters arguments centered on component price or manufacturing costs.
So, why does Apple continue to sell iPhones with slow refresh rate panels? To me, this is simply the most egregious example of Apple’s famously blunt product stratification strategy, a considered choice to drive customers towards the more expensive iPhone 16 Pro and iPhone 16 Pro Max.
It’s a shame, too – I’ve been otherwise impressed by the iPhone 15, and our iPhone 16 review found that Apple’s latest flagship brings the base model closer than ever to its Pro counterpart. Understandably, the standard and Pro iPhones need to be separated somehow, but here, Apple continues to enforce distance by limiting the low-end model rather than enhancing its premium offering.
This is a regrettably common Apple tactic. The exact same issue applies to the iPad Air and iPad Pro, and the cheapest MacBook Pro is still sold with a puny 8GB of RAM – decisions that drive people towards more expensive options.
I’m far from an Apple hater – I’m a longtime iPad user and converted from Windows to Mac last year – but this kind of behavior is my pick for Apple’s worst bad habit. Apple has made its name by thinking differently, but when it comes to refresh rates, I’m afraid everyone else is right.
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With the fall season is in full swing and the weather beginning to turn, you might be thinking of cozy nights in versus busy days out. That’s especially with the holiday season on the horizon and all the hustle and bustle that comes along with that.
For those days or nights when you just want to relax in your loungewear and slippers while binge-watching a show, there are some great options. Digital Trends has selected these five Amazon Prime Video shows that are perfect to watch in the fall.
Need more recommendations? Then check out the best new shows to stream this week, as well as the best shows on Netflix, best shows on Hulu, best shows on Amazon Prime Video, the best shows on Max, and best shows on Disney+.
Upload (2020-)
A delightful sci-fi comedy drama that parodies our real-life obsession with technology and AI, Upload begins when Nathan Brown (Robbie Amell) is near-death after a tragic car accident. In a panic, his wealthy girlfriend, Ingrid (Allegra Edwards), uploads him to a lavish afterlife community, an option in this near-future world that allows those with the financial means to continue interacting with their loved ones, even after death. As Nathan tries to deal with his now perpetual existence and an ex he was planning to break up with holding his purse strings, he grows closer with his living woman handler, Nora (Andy Allo). But he also starts to uncover a plot that suggests his death was no accident.
As the story in Upload takes many twists and turns, the chemistry among the main cast and standout supporting characters like Luke (Kevin Bigley), a frat boy-like former army vet uploaded after death, and his persistently annoyed handler, Aleesha (Zainab Johnson), will have you both laughing and also terrified about a future ruled by technology. The show will return for a fourth and final season, so this fall is the perfect time to catch up on the first three.
Stream Upload on Amazon Prime Video.
Gen V (2023-)
With a second season confirmed, but no launch date yet (likely sometime in 2025), you have time to catch up on season one of Gen V if you haven’t seen it yet. A spinoff of The Boys, the satirical superhero series follows a group of students in a university where they are trained to become the next batch of superheroes. These aren’t admirable heroes, however. The real superheroes, who possess various unique powers, are managed by an evil corporation that uses them to further its interests.
Gen V is like a teen drama mixed with plenty of violence, gore, and scenes that will make you wince for more reasons than one. While the show stands on its own, it ties nicely with the storylines in The Boys. If you haven’t watched that show yet, start with seasons 1 through 3 of The Boys, then check out season 1 of Gen V before returning for season 4 of The Boys to get the full, thematic story. For those who aren’t easily grossed out, Gen V has clever themes that mirror real-life social and political situations beneath its bloody surface.
Stream Gen V on Amazon Prime Video.
Fallout (2024-)
If you’re loving Ella Purnell in her new series Sweetpea and enjoyed her in Yellowjackets, you’ll appreciate her performance in Fallout, a postapocalyptic drama based on the popular video game franchise. Even if you know nothing about the game or the story, Fallout beautifully weaves action and storylines in a desolate world with humor that anyone can enjoy.
The story follows Purnell’s character, Lucy, who emerges from an underground fallout bunker where most humans reside following an apocalyptic nuclear war above ground. She has never ventured out, but with her father kidnapped and possibly in trouble, she is desperate to rescue him.
She meets friends and foes along the way, notably a grotesque, disfigured bounty hunter known as The Ghoul (brilliantly portrayed by Walton Goggins). It’s action-packed through all eight episodes and will have you at the edge of your seat.
Stream Fallout on Amazon Prime Video.
Them (2021-)
The fall season and horror go hand in hand, largely thanks to Halloween. If you’re looking for a creepy show to dive into as you celebrate the holiday, Them is a good choice. The first season, called Them: Covenant, is set during the Second Great Migration in the mid-20th century. A Black family moves from North Carolina to East Compton in the Los Angeles area, where they are now living in an all-white neighborhood. But when evil forces attack, they must fight back. The second season, called Them: The Scare, fast-forwards to 1991 and follows a detective working the case of a gruesome murder.
While Them is especially graphic, the stories, talented cast, and intelligent background social commentary make it a must-watch. The second season was met with much better reviews than the first, earning an impressive perfect 100% Rotten Tomatoes critic score.
Stream Them on Amazon Prime Video.
Downton Abbey (2010-2015)
Honor the recent death of Maggie Smith by watching, or rewatching, Downton Abbey. The British historical drama is set in the early 20th century and focuses on the aristocratic Crawley family and their domestic servants. While fictional, the show integrates real-life happenings into the plot, including the sinking of the Titanic, the First World War, and the Spanish Influenza pandemic. But there are also stories involving torrid affairs, familial discord, and class disparities.
Earning numerous awards throughout its run, Downton Abbey spawned two film adaptations, with a third reportedly in the works as well. If you love and miss shows like Bridgerton and you’re looking for something to fill that void this fall, Downton Abbey is a good option.
Stream Downtown Abbey on Amazon Prime Video.
Right now Best Buy has a pretty good deal on the 2024 Moto G, a phone that comes with a 50MP rear camera for some snazzy smartphone photos and a stylish faux leather backing that comes in a Sage Green color.
The Moto G has come a long way since its early days, and Motorola has come a long way in designing an entry-level phone that can look just as good as devices that cost hundreds and hundreds more. That’s part of what makes this such a good deal. Normally, you would have to pay $199.99 for this phone if you were paying the full retail price. However, if you grab it while Best Buy has it on sale, then you can get it for $169.99, which is just under $170.
This appears to be the cheapest it’s ever been, although it does seem to have dropped to this price back on October 8 and has stayed there.
Now aside from the 50MP camera, the Moto G is 5G-capable and that means you’ll get the fastest possible speeds for page loads, downloads, and streaming when connected to a reliable 5G network. While you won’t always be in a 5G area it’s nice to know that when you are your phone can connect to it. The Moto G also comes with a pretty large battery capacity. At 5,000mAh, you likely aren’t going to have to worry about draining the battery too quickly.
This phone is also going to be great for entertainment purposes. With a large 6.6-inch screen a 120Hz refresh rate and Dolby Atmos support, your content will come to life and feel more immersive. Not to mention the 120Hz refresh rate would be good for some casual gaming. If you need an inexpensive phone for any reason, then this is a must-have deal.
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