It was 2022 and Cai, then 16, was scrolling on his phone. He says one of the first videos he saw on his social media feeds was of a cute dog. But then, it all took a turn.
He says “out of nowhere” he was recommended videos of someone being hit by a car, a monologue from an influencer sharing misogynistic views, and clips of violent fights. He found himself asking – why me?
Over in Dublin, Andrew Kaung was working as an analyst on user safety at TikTok, a role he held for 19 months from December 2020 to June 2022.
He says he and a colleague decided to examine what users in the UK were being recommended by the app’s algorithms, including some 16-year-olds. Not long before, he had worked for rival company Meta, which owns Instagram – another of the sites Cai uses.
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When Andrew looked at the TikTok content, he was alarmed to find how some teenage boys were being shown posts featuring violence and pornography, and promoting misogynistic views, he tells BBC Panorama. He says, in general, teenage girls were recommended very different content based on their interests.
TikTok and other social media companies use AI tools to remove the vast majority of harmful content and to flag other content for review by human moderators, regardless of the number of views they have had. But the AI tools cannot identify everything.
Andrew Kaung says that during the time he worked at TikTok, all videos that were not removed or flagged to human moderators by AI – or reported by other users to moderators – would only then be reviewed again manually if they reached a certain threshold.
He says at one point this was set to 10,000 views or more. He feared this meant some younger users were being exposed to harmful videos. Most major social media companies allow people aged 13 or above to sign up.
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TikTok says 99% of content it removes for violating its rules is taken down by AI or human moderators before it reaches 10,000 views. It also says it undertakes proactive investigations on videos with fewer than this number of views.
When he worked at Meta between 2019 and December 2020, Andrew Kaung says there was a different problem. He says that, while the majority of videos were removed or flagged to moderators by AI tools, the site relied on users to report other videos once they had already seen them.
He says he raised concerns while at both companies, but was met mainly with inaction because, he says, of fears about the amount of work involved or the cost. He says subsequently some improvements were made at TikTok and Meta, but he says younger users, such as Cai, were left at risk in the meantime.
Several former employees from the social media companies have told the BBC Andrew Kaung’s concerns were consistent with their own knowledge and experience.
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Algorithms from all the major social media companies have been recommending harmful content to children, even if unintentionally, UK regulator Ofcom tells the BBC.
“Companies have been turning a blind eye and have been treating children as they treat adults,” says Almudena Lara, Ofcom’s online safety policy development director.
‘My friend needed a reality check’
TikTok told the BBC it has “industry-leading” safety settings for teens and employs more than 40,000 people working to keep users safe. It said this year alone it expects to invest “more than $2bn (£1.5bn) on safety”, and of the content it removes for breaking its rules it finds 98% proactively.
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Meta, which owns Instagram and Facebook, says it has more than 50 different tools, resources and features to give teens “positive and age-appropriate experiences”.
Cai told the BBC he tried to use one of Instagram’s tools and a similar one on TikTok to say he was not interested in violent or misogynistic content – but he says he continued to be recommended it.
He is interested in UFC – the Ultimate Fighting Championship. He also found himself watching videos from controversial influencers when they were sent his way, but he says he did not want to be recommended this more extreme content.
“You get the picture in your head and you can’t get it out. [It] stains your brain. And so you think about it for the rest of the day,” he says.
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Girls he knows who are the same age have been recommended videos about topics such as music and make-up rather than violence, he says.
Meanwhile Cai, now 18, says he is still being pushed violent and misogynistic content on both Instagram and TikTok.
When we scroll through his Instagram Reels, they include an image making light of domestic violence. It shows two characters side by side, one of whom has bruises, with the caption: “My Love Language”. Another shows a person being run over by a lorry.
Cai says he has noticed that videos with millions of likes can be persuasive to other young men his age.
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For example, he says one of his friends became drawn into content from a controversial influencer – and started to adopt misogynistic views.
His friend “took it too far”, Cai says. “He started saying things about women. It’s like you have to give your friend a reality check.”
Cai says he has commented on posts to say that he doesn’t like them, and when he has accidentally liked videos, he has tried to undo it, hoping it will reset the algorithms. But he says he has ended up with more videos taking over his feeds.
So, how do TikTok’s algorithms actually work?
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According to Andrew Kaung, the algorithms’ fuel is engagement, regardless of whether the engagement is positive or negative. That could explain in part why Cai’s efforts to manipulate the algorithms weren’t working.
The first step for users is to specify some likes and interests when they sign up. Andrew says some of the content initially served up by the algorithms to, say, a 16-year-old, is based on the preferences they give and the preferences of other users of a similar age in a similar location.
According to TikTok, the algorithms are not informed by a user’s gender. But Andrew says the interests teenagers express when they sign up often have the effect of dividing them up along gender lines.
The former TikTok employee says some 16-year-old boys could be exposed to violent content “right away”, because other teenage users with similar preferences have expressed an interest in this type of content – even if that just means spending more time on a video that grabs their attention for that little bit longer.
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The interests indicated by many teenage girls in profiles he examined – “pop singers, songs, make-up” – meant they were not recommended this violent content, he says.
He says the algorithms use “reinforcement learning” – a method where AI systems learn by trial and error – and train themselves to detect behaviour towards different videos.
Andrew Kaung says they are designed to maximise engagement by showing you videos they expect you to spend longer watching, comment on, or like – all to keep you coming back for more.
The algorithm recommending content to TikTok’s “For You Page”, he says, does not always differentiate between harmful and non-harmful content.
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According to Andrew, one of the problems he identified when he worked at TikTok was that the teams involved in training and coding that algorithm did not always know the exact nature of the videos it was recommending.
“They see the number of viewers, the age, the trend, that sort of very abstract data. They wouldn’t necessarily be actually exposed to the content,” the former TikTok analyst tells me.
That was why, in 2022, he and a colleague decided to take a look at what kinds of videos were being recommended to a range of users, including some 16-year-olds.
He says they were concerned about violent and harmful content being served to some teenagers, and proposed to TikTok that it should update its moderation system.
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They wanted TikTok to clearly label videos so everyone working there could see why they were harmful – extreme violence, abuse, pornography and so on – and to hire more moderators who specialised in these different areas. Andrew says their suggestions were rejected at that time.
TikTok says it had specialist moderators at the time and, as the platform has grown, it has continued to hire more. It also said it separated out different types of harmful content – into what it calls queues – for moderators.
What happens when smartphones are taken away from kids for a week? With the help of two families and lots of remote cameras, Panorama finds out. And with calls for smartphones to be banned for children, Marianna Spring speaks to parents, teenagers and social media company insiders to investigate whether the content pushed to their feeds is harming them.
Watch on Monday on BBC One at 20:00 BST (20:30 in Scotland) or on BBC iPlayer (UK only)
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‘Asking a tiger not to eat you’
Andrew Kaung says that from the inside of TikTok and Meta it felt really difficult to make the changes he thought were necessary.
“We are asking a private company whose interest is to promote their products to moderate themselves, which is like asking a tiger not to eat you,” he says.
He also says he thinks children’s and teenagers’ lives would be better if they stopped using their smartphones.
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But for Cai, banning phones or social media for teenagers is not the solution. His phone is integral to his life – a really important way of chatting to friends, navigating when he is out and about, and paying for stuff.
Instead, he wants the social media companies to listen more to what teenagers don’t want to see. He wants the firms to make the tools that let users indicate their preferences more effective.
“I feel like social media companies don’t respect your opinion, as long as it makes them money,” Cai tells me.
In the UK, a new law will force social media firms to verify children’s ages and stop the sites recommending porn or other harmful content to young people. UK media regulator Ofcom is in charge of enforcing it.
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Almudena Lara, Ofcom’s online safety policy development director, says that while harmful content that predominantly affects young women – such as videos promoting eating disorders and self-harm – have rightly been in the spotlight, the algorithmic pathways driving hate and violence to mainly teenage boys and young men have received less attention.
“It tends to be a minority of [children] that get exposed to the most harmful content. But we know, however, that once you are exposed to that harmful content, it becomes unavoidable,” says Ms Lara.
Ofcom says it can fine companies and could bring criminal prosecutions if they do not do enough, but the measures will not come in to force until 2025.
TikTok says it uses “innovative technology” and provides “industry-leading” safety and privacy settings for teens, including systems to block content that may not be suitable, and that it does not allow extreme violence or misogyny.
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Meta, which owns Instagram and Facebook, says it has more than “50 different tools, resources and features” to give teens “positive and age-appropriate experiences”. According to Meta, it seeks feedback from its own teams and potential policy changes go through robust process.
Last month, two young paddleboarders found themselves stranded in the ocean, pushed 2,000 feet from the shore by strong winds and currents. Thanks to the deployment of a drone, rescuers kept an eye on them the whole time and safely brought them aboard a rescue boat within minutes.
In North Carolina, the Oak Island Fire Department is one of a few in the country using drone technology for ocean rescues. Firefighter-turned-drone pilot Sean Barry explained the drone’s capabilities as it was demonstrated on a windy day.
“This drone is capable of flying in all types of weather and environments,” Barry said.
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Equipped with a camera that can switch between modes — including infrared to spot people in distress — responders can communicate instructions through a speaker. It also can carry life-preserving equipment.
The device is activated by a CO2 cartridge when it comes in contact with water. Once triggered, it inflates into a long tube, approximately 26 inches long, providing distressed swimmers something to hold on to.
In a real-life rescue, after a 911 call from shore, the drone spotted a swimmer in distress. It released two floating tubes, providing the swimmer with buoyancy until help arrived.
Like many coastal communities, Oak Island’s population can swell from about 10,000 to 50,000 during the summer tourist season. Riptides, which are hard to detect on the surface, can happen at any time.
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Every year, about 100 people die due to rip currents on U.S. beaches. More than 80% of beach rescues involve rip currents, if you’re caught in one, rescuers advise to not panic or try to fight it, but try to float or swim parallel to the coastline to get out of the current.
Oak Island Fire Chief Lee Price noted that many people underestimate the force of rip currents.
“People are, ‘Oh, I’m a good swimmer. I’m gonna go out there,’ and then they get in trouble,” Price said.
For Price, the benefit of drones isn’t just faster response times but also keeping rescuers safe. Through the camera and speaker, they can determine if someone isn’t in distress.
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Price said many people might not be aware of it.
“It’s like anything as technology advances, it takes a little bit for everybody to catch up and get used to it,” said Price.
In a demonstration, Barry showed how the drone can bring a safety rope to a swimmer while rescuers prepare to pull the swimmer to shore.
“The speed and accuracy that this gives you … rapid deployment, speed, accuracy, and safety overall,” Price said. “Not just safety for the victim, but safety for our responders.”
Manuel Bojorquez is a CBS News national correspondent based in Miami. He joined CBS News in 2012 as a Dallas-based correspondent and was promoted to national correspondent for the network’s Miami bureau in January 2017.
It’s been quite some time since we heard anything about Netflix’s animated adaptation of Splinter Cell — but the streamer has finally provided some details on the show. The reveal comes in the form of a very brief teaser trailer, which shows a little bit of the show, but mostly showcases Liev Schreiber’s gravelly take on lead character Sam Fisher. We also have a proper name now: it’s called Splinter Cell: Deathwatch.
Horseshoe crabs: Ancient creatures who are a medical marvel – CBS News
Correspondent Conor Knighton visits New Jersey beaches along the Delaware Bay to learn about horseshoe crabs – mysterious creatures that predate dinosaurs – whose very blood has proved vital to keeping humans healthy by helping detect bacterial endotoxins. He talks with environmentalists about the decline in the horseshoe crab population, and with researchers who are pushing the pharmaceutical industry to switch its use of horseshoe crab blood with a synthetic alternative used in medical testing.
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Strands is the NYT’s latest word game after the likes of Wordle, Spelling Bee and Connections – and it’s great fun. It can be difficult, though, so read on for my Strands hints.
SPOILER WARNING: Information about NYT Strands today is below, so don’t read on if you don’t want to know the answers.
Your Strands expert
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Your Strands expert
Marc McLaren
NYT Strands today (game #201) – hint #1 – today’s theme
What is the theme of today’s NYT Strands?
• Today’s NYT Strands theme is… A way with words
NYT Strands today (game #201) – hint #2 – clue words
Play any of these words to unlock the in-game hints system.
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DIRTY
STRICT
POSE
POSED
DEAN
DOSE
NYT Strands today (game #201) – hint #3 – spangram
What is a hint for today’s spangram?
• A bard’s domain
NYT Strands today (game #201) – hint #4 – spangram position
What are two sides of the board that today’s spangram touches?
First: left, 4th row
Last: right, 5th row
Right, the answers are below, so DO NOT SCROLL ANY FURTHER IF YOU DON’T WANT TO SEE THEM.
NYT Strands today (game #201) – the answers
The answers to today’s Strands, game #201, are…
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RHYME
VERSE
METER
STANZA
SYNTAX
DICTION
SCANSION
SPANGRAM: POETRY
My rating: Moderate
My score: 2 hints
I’ve never been a fan of poetry, though I love words and language. Set it to music and it’s a different matter – and I guess the best lyricists are also poets. But ask me to talk about SCANSION and STANZAs and I’m a little lost. All of which is a way of justifying why I needed two hints to complete what for some people will probably be a fairly simple Strands puzzle.
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I worked out what the theme was early on, with the clue of ‘A way with words’ and the fact that I found RHYME by accident combining to set me on the right track. But though I spotted a couple more, I couldn’t get them all without needing a helping hand for METER and STANZA. After that I spotted the spangram, and the others were solved pretty much by a combination of guesswork and my modicum of knowledge.
Yesterday’s NYT Strands answers (Thursday 19 September, game #200)
SPIDER
MILLIPEDE
BEETLE
TERMITE
EARWIG
SPANGRAM: CREEPYCRAWLIES
What is NYT Strands?
Strands is the NYT’s new word game, following Wordle and Connections. It’s now out of beta so is a fully fledged member of the NYT’s games stable and can be played on the NYT Games site on desktop or mobile.
I’ve got a full guide to how to play NYT Strands, complete with tips for solving it, so check that out if you’re struggling to beat it each day.
A blockchain entrepreneur, a cinematographer, a polar adventurer and a robotics researcher plan to fly around Earth’s poles aboard a SpaceX Crew Dragon capsule by the end of the year, becoming the first humans to observe the ice caps and extreme polar environments from orbit, SpaceX announced Monday.
The historic flight, launched from the Kennedy Space Center in Florida, will be commanded by Chun Wang, a wealthy bitcoin pioneer who founded f2pool and stakefish, “which are among the largest Bitcoin mining pools and Ethereum staking providers,” the crew’s website says.
“Wang aims to use the mission to highlight the crew’s explorational spirit, bring a sense of wonder and curiosity to the larger public and highlight how technology can help push the boundaries of exploration of Earth and through the mission’s research,” SpaceX said on its website.
Wang’s crewmates are Norwegian cinematographer Jannicke Mikkelsen, Australian adventurer Eric Philips and Rabea Rogge, a German robotics researcher. All four have an interest in extreme polar environments and plan to carry out related research and photography from orbit.
The mission, known as “Fram2” in honor of a Norwegian ship used to explore both the Arctic and Antarctic regions, will last three to five days and fly at altitudes between about 265 and 280 miles.
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“This looks like a cool & well thought out mission. I wish the @framonauts the best on this epic exploration adventure!” tweeted Jared Isaacman, the billionaire philanthropist who charted the first private SpaceX mission — Inspiration4 — and who plans to blast off on a second flight — Polaris Dawn — later this month.
The flights “showcase what commercial missions can achieve thanks to @SpaceX’s reusability and NASA’s vision with the commercial crew program,” Isaacman said. “All just small steps towards unlocking the last great frontier.”
Like the Inspiration4 mission before them, Wang and his crewmates will fly in a Crew Dragon equipped with a transparent cupola giving them a picture-window view of Earth below and deep space beyond.
No astronauts or cosmonauts have ever viewed Earth from the vantage point of a polar orbit, one tilted, or inclined, 90 degrees to the equator. Such orbits are favored by spy satellites, weather stations and commercial photo-reconnaissance satellites because they fly over the entire planet as it rotates beneath them.
The high-inclination record for piloted flight was set in the early 1960s by Soviet Vostok spacecraft launched into orbits inclined 65 degrees. The U.S. record was set by a space shuttle mission launched in 1990 that carried out a classified military mission in an orbit tilted 62 degrees with respect to the equator.
The International Space Station never flies beyond 51.6 degrees north and south latitude. NASA planned to launch a space shuttle on a classified military mission around the poles in 1986, but the flight was canceled in the wake of the Challenger disaster.
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“The North and South Poles are invisible to astronauts on the International Space Station, as well as to all previous human spaceflight missions except for the Apollo lunar missions but only from far away,” the Fram2 website says. “This new flight trajectory will unlock new possibilities for human spaceflight.”
SpaceX has launched 13 piloted missions carrying 50 astronauts, cosmonauts and private citizens to orbit in nine NASA flights to the space station, three commercial visits to the lab and the Inspiration4 mission chartered by Isaacman.
Isaacman and three crewmates plan to blast off Aug. 26 on another fully commercial flight, this one featuring the first civilian spacewalks. NASA plans to launch its next Crew Dragon flight to the space station around Sept. 24.
Bill Harwood has been covering the U.S. space program full-time since 1984, first as Cape Canaveral bureau chief for United Press International and now as a consultant for CBS News.
Today we’re launching a totally new, totally different app. Meet Orion.
Orion is a small, fun app that helps you use your iPad as an external HDMI display for any camera, video game console, or even VHS. Just plug in one of the bajillion inexpensive adapters, and Orion handles the rest.
But wait — we’re a camera company. Why an HDMI monitor?
We built this to scratch a few itches. First, in professional cinematography, it’s common to connect an external screen to your camera to get a better view of the action. Orion not only gives you a bigger screen, but you can even share screenshots with your crew with a couple of taps.
We also built this for… pure fun. When traveling with a Nintendo Switch, it’s a delight to play games on a bigger screen, especially alongside friends.
Orion goes a step beyond display. By default, inputs could look fuzzy on an iPad’s retina display. (Why? The Switch runs a modest 1080p resolution, and even if it ran at a higher resolution, most adapters on the market can only run 60 frames per second at 1080P.)
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Orion sharpens those low resolution inputs with an AI powered upscaler!
Another perk is control over the brightness of the image beyond the iPad’s screen brightness. If you’re trying to view video in daylight, crank up brightness to HDR range for extra help. If you’re on a late-night flight and don’t want to bother anyone around you, make things darker than the iPad’s darkest.
OK, I hear you ask, but how much does all of this cost? A camera monitor is hundreds of dollars. Well, Orion is free. Yep, free.
If you want to support the app, get Orion Pro: It packs AI upscaling, CRT emulation for retro games, and image adjustments (and whatever else we cook up). It’s a one-time upgrade for $5. It unlocks everything. No subscriptions.
As for those adapters, we found plenty available for under $20. Now it’s easy to get confused and accidentally buy, say, a USB-C hub with video output, which can’t capture anything. (Ask me how I know.) That’s why we personally tested the top ten adapters on Amazon and made a helpful buying guide with our recommendations and some other accessories, too.
The Story of Orion
This summer, Apple announced a set of awesome new features coming to iOS 17, and one of them was external-webcam support on iPad. After digging into the feature for our flagship app, Halide, we weren’t satisfied with the results in a camera app.
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However, we did discover that a ton of companies sell tiny, inexpensive adapters that convert HDMI signals into webcams. “What if you could use an iPad as a portable screen?” Hmm! Intriguing. We had an idea, and we got to work.
We wrote the first line of code on August 6th, we’re shipping September 20th — 45 days later.
We’re launching at the start of new iPhone season, so we’re already super busy and shifting our focus to our flagship iPhone photography app, Halide. Orion won’t distract us from that, because we’re calling it a b-side.
B-sides are small fun, small, and focused projects. Apps like Halide needs major work every year to keep up with new hardware, but we expect Orion will be “done” after a release or two. We’ll keep maintaining it so it doesn’t break, but we won’t revolve our lives around it. It’s a fun utility, and that’s why we’re only asking for a few bucks.
Beyond being fun to build and design, apps like Orion let us experiment with new developer tools earlier than in our flagship apps. In a mature app used by lots of people, it’s a good idea to wait a year or two before adopting a cutting edge technology; while Apple launched SwiftUI in 2019, but we waited until 2021 to add it to Halide. SwiftUI has been a huge win for certain types of problems— and we couldn’t have built Orion so quickly without it— but by waiting two years before adding SwiftUI it to Halide, we had to play a lot of catchup in 2021.
So apps like Orion allow us to scratch our own itch, which is how we got into building apps in the first place, and also help us keep up with where iOS is heading.
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The Orion Video System Design
You might notice something about the styling of Orion — it’s very stylized in a… retro sort of way.
When we set off to design the app, we really wanted it to be fun. Starting with the basic idea—a portable screen—we thought of the era where televisions and video were still exciting, fresh technology. The techno-utopia of the early 1980s came to mind. We find this a delightful aesthetic.
Pastels, purples and pinks. Detailed technical illustrations and bright colors. Futuristic logos. Type that tracked far too tightly thanks to the invention of the photo-typesetter. And of course, the invention of bitmap typefaces and on-screen user interfaces and icons.
We didn’t want to just lean into the clichés—there are enough vaporwave sunsets with Deloreans out there that try to seem ’80s’— so went and developed a visual language that is based on the electronics brochures and VCR interfaces of bygone days that conveys ‘modern’ in a way only the 1980s visual vernacular can.
In Halide, we did everything we could to make the app feel as tactile as a real camera. Great cameras are wonderfully tactile — every knob and switch has a weighted, deliberate feel and click to it.
In Orion, we wanted to give you the joy of your own ‘video system’. That meant starting from the beginning: you open the box to unpack it. Because, well, why not.
Instructions follow, so you can get started quickly.
And when not actively in use, you return to a glowing, slightly distorted nostalgic place of on-screen menus, where our custom-made pixel font called Radiant steals the show.
If it wasn’t obvious, we had a lot of fun doing this. And that’s what really mattered to us: if anything, Orion was a project to collaborate with friends on something fun and different.
Thank you
We want to build things with craft, fun and delight. To showcase that apps are an art form, and have no business being boring. We hope you enjoy the result — we know that we loved building it for you. Thanks to you, we get to do what we love.
Orion was a collaboration with friends. Some of the incredible design and typography on display (and our two custom typefaces) are the work of Jelmar Geertsma. Orion was co-engineered with Anton Heestand. The opening music (yes, opening music) is by Cabel Sasser. Extra thanks go to Louie Mantia for bézier wrangling and our families — especially Margo — for supporting us in doing what we love. If you are still reading here, please consider leaving us a review on our apps — it goes a very long way.
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