Alex Garland’s Civil Warisn’t shy about its premise. It’s right there in the title. It’s about a United States of America that’s no longer united, with various sections engaged in a civil war. But while many would assume it’s some kind of easy-to-understand red state, blue state thing, A24 has released an image that shows it’s anything but.
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Civil War is scheduled for release April 12. In it, Kirsten Dunst and Wagner Moura play journalists attempting to travel from New York to Washington, D.C. Along the way, they pick up a young, aspiring photo journalist played by Cailee Spaeny who is about to get a baptism of fire traveling through the country.
But what does the country these characters exist in look like? Over on social media, A24 released the below image to show exactly where the divisions are in the nation and, as you’ll see, there’s a lot to discuss.
The (not so) United States of Civil War.Image: A24
A few things jump out here. The first, of course, are the “Western Forces,” which include exactly one Western state—California—along with Texas. In reality, few states are as fundamentally different as California and Texas, but therein lies Garland’s point: Civil War isn’t about our 2024 reality. It’s an alternate version inspired by ours that comments on the potential consequences of our actions. And, it doesn’t really take a side or explain anything. Are the Western Forces more politically aligned with California or Texas? We never find out, and that’s the point.
This map also doesn’t make it clear who are the good guys and bad guys in the movie. Which, again, is the point. Who are the Loyalist States loyal to? Why is the Northwest a “New People?” And the Florida Alliance… well, that one actually kind of makes sense.
Having seen Civil War I can reveal that not all of these questions are answered, but seeing this map and thinking about it will begin to prepare you for the unexpected nature of the film. Tickets are on sale now.
This guide was updated on March 28, 2024, at 2:40 p.m. ET to reflect the latest information from Bloomberg and other sources.
Can This iPad Replace Your Laptop?
The rumor tornado that has circled the upcoming OLED iPad Pro has finally started to wane, leaving us with a whole field scattered with little nuggets of information relating to its size, color options, and a few juicy details surrounding the new look on its OLED screen. The new school iPad Pro and iPad Air are supposed to drop sometime this Spring, though we may need to wait until May for the full reveal. We still have a few months to get excited about Apple’s first real push into OLED outside its phones.
Apple didn’t release any 11th-gen iPads last year, which is noteworthy considering the Cupertino, California company has released one yearly for over a decade. The rumors make it clear that Apple thinks this latest refresh is a big one, and it could possibly reinvent the somewhat confusing SKU bloat that’s hindered the tech giant’s tablet line for years.
When Could Apple Release the OLED iPad Pro?
Most initial rumors suggested that Apple would showcase its new iPads in March. However, new details are coming out of Apple’s production line, and a report from Bloomberg says we’ll have to wait until sometime in May. Based on several anonymous sources, the report notes that the May release will be a big one centered around the new iPads. The Pro models will receive a brand new screen, while fans of the iPad Airs will have a new size category to play with at 12.9 inches.
The Cupertino company just released its new M3 MacBook Airs with a 13- or 15-inch screen in March, so this push to May isn’t so surprising as the company wants to spread out its releases and stay in the media spotlight for longer. The report notes that Apple needed to finish up the software for its upcoming tablets, hence the delay. In January, Bloomberg’s Apple guru Mark Gurman reported that Apple has wide-ranging designs. Nothing’s changed as far as what’s coming down the pike. According to Bloomberg, this first iPad refresh in 18 months will include four models: the J717, J718, J720, and J721.
As first reported by Apple Insider, quoting from market researchers at Display Supply Chain Consultants, there have been a few snags with manufacturing the latest tablets. Still, now that Apple has a little more breathing room, there hopefully won’t be any more delays.
May would also be a month before its biggest event of the year, WWDC 2024. That’s where most rumors suggest Apple will introduce far more AI enhancements to iOS 18. Much hasn’t been said about AI on iPadOS, but if it’s not there to start, it will only be a matter of time before Apple slaps some version of AI features on its tablets.
Moreover, there’ve been hints at additional iPad accessories that could also find their way onto the scene, along with the new Airs and Pros. People digging into the code for iOS 17.4 found mentions of an Apple Pencil 3 that connects with Apple’s Find My app. With a surprise release last year, the previous Apple Pencil featured a slide-out USB-C slot. That pencil version also lacked pressure sensitivity, so a new version with more sensitivity options could fit well with the new “Pro” lineup.
But wait, there’s more. MacRumors claimed, based on a source who works with Apple parts, that the next iPad could support MagSafe wireless charging. There hasn’t been word that the Cupertino company would make an all-new MagSafe peripheral for iPads, but we can’t help but imagine a charging unit that could double as a hands-free stand. Bloomberg had previously hinted at Apple trying to create a glass-backed iPad that would work with MagSafe.
The new iPad could also introduce an all-new keyboard. Gurman previously mentioned that Apple is trying to redesign the Magic Keyboard to work with the iPad. Rumors suggest the new keyboard will have a larger trackpad. Most importantly, Apple could switch to aluminum for the top portion of its keyboard, which would give it much more of a MacBook feel than ever before. The cover material would remain the same, but it would make the whole keyboard a lot sturdier for those who want to use their iPad as their main daily driver.
What Do We Know About the iPad Pro’s OLED?
Photo: Caitlin McGarry / Gizmodo
Based on routine hints by industry analysts, it’s become well-known that Apple wants to make an 11.1-inch and a 13-inch iPad Pro with OLED. That’s compared to the most recent 12.9-inch mini-LED version (called Liquid Retina XDR) and 11-inch IPS LCD version that currently occupy the top end of Apple’s tablet line. Those rumors have been reconfirmed by the most recent word from
The new generation of iPads will be sized slightly differently from previous models. 9to5Mac reported, based on anonymous sources, that the new iPad Pros will be close to 1 mm less thick than the current 10th-gen. The existing 11-inch iPad Pro is 5.9 mm thick, but the new one could be 5.1 mm. The 12.9-inch version currency sits at 6.4 mm, but the new one could be a bare 5.0 mm.
To complement the new sizes, rumors also suggest we’ll see an updated MacBook Air that stretches the screen to 12.9 inches.
What’s Happening with iPadOS 18?
There could be some interesting changes in store for the next OS update to come along with the iPad refresh. For one, the next tablet operating system could drop support for several older-gen iPads. According to a rumor first reported by 9to5Mac, this includes the 2nd-gen 12.9-inch iPad Pro, the 10.5-inch iPad Pro, and the 6th-gen iPad. The rest of the tablets from 2019 and later should still have access to the new OS build.
If iOS 18‘s rumored AI enhancements prove true, it would only make sense to bring them to the iPad as well. This could potentially reinvent Siri and perhaps add several new AI-enhanced functions to Apple’s portable platforms.
At the tail end of last month, Apple released the new iPadOS update 17.4.1, which MacRumors confirmed didn’t offer any hints about iPadOS 18. At the very least, we can speculate that iPadOS 18 will come out at the same time as iOS 18, which will likely debut at WWDC 2024.
How Powerful Will the OLED iPad Pro Be?
We’ve known for a long while now that Apple wants to use its new M3 chip inside the iPad Pro. This was before we even had a chance to look at and analyze the power and capabilities of Apple’s latest M-series silicon, but since then, we’ve had the full chance to test out the capabilities of the 3nm M3 and its more powerful brethren, the M3 Pro and M3 Max.
Most configurations of the M3 for both the MacBook Air and MacBook Pro come with 8 CPU cores and either 8 or 10 GPU cores. These configurations either come with 8, 16, or 32 GB of RAM, though considering the iPad Pro goes to a maximum of 16 GB of integrated memory, you can expect the OLED version to be the same.
We’ve found the M3 chip to be pretty versatile at both productivity and graphical tasks. It’s marginally better than the M2 chip in all benchmarks, so it will certainly be an upgrade for those used to the M1 or M2 versions, even ignoring the new eye-catching display.
How Much Will the OLED iPad Pro Cost?
Photo: Caitlin McGarry / Gizmodo
OLED normally costs more than LCD, partly because of materials and partly because fewer factories and makers are available to manufacture the individual components. Based on industry sources, Korean tech rumor site The Elec (via MacRumors) claimed that Samsung is producing the first batch of the 11-inch OLED iPads but that LG is also working on the 13-inch versions.
The Elec also noted that industry analysts expect Apple to ship 8 million units this year. That’s less than what the industry thought the company would ship last year, though it may be based on expected demand more than anything. Apple did have a few issues last year with MacBook sales being down, leading the company to release the M3 MacBook Pros, not even a year after it finally started shipping the M2 version. This did help build hype around the M3 chip, the company’s most powerful APU released.
That said, the iPad Pro would only make sense to see a price increase. Trying to guess an exact price would be like tossing darts blindfolded, but the 13-inch iPad Pro currently starts at $1,099 but can go upwards of $2,000 if you want to opt for more storage options and cellular connectivity. We could guess that a new iPad Pro would cost at least $100 more than the current generation. The Elec has previously reported the next iPad could cost several hundred dollars more, even putting the price at $1,500 for the 11-inch and $1,800 for the 18-inch model, which seems to be a higher jump than seems practical.
Also, considering the Magic Keyboard’s current starting price of $300, a new aluminum material will likely increase the overall cost. The future iPad Pro will be a much more luxury product, which will also recast the Air as a more consumer-grade product overall.
This past weekend Hasbro—not content with the metric buttload of action figures it’s already been teasing lately—revealed a bunch of new figures for its Transformers, G.I. Joe, Marvel, and Star Wars lines at Wondercon. But, at long last, the toymaker is getting around to a character from the galaxy far, far away it’s been away from for far too long.
Momaw Nadon—aka Hammerhead, as the Ithorian bar patron was lovingly referred to back in Kenner’s classic Star Wars figure line—is an unhinged choice for a Star Wars action figure, considering he’s in A New Hope for a handful of seconds, adding memorable background flavor to Mos Eisley Cantina. But those early days of merch mania that turned Star Wars into such a transformative moment in the toy industry meant that no matter how obscure the character, odds are they’d wind up on a toy shelf at some point. Momaw was an early prime choice, sealing his status in the minds of Star Wars fans and collectors forevermore.
There’s been figure recreations of him over the years since that original rudimentary figure, but not in Hasbro’s 6″-scaled Black Series line yet—although the inevitably was all but assured when, last year, Hasbro revealed a special action figure for the Galaxy’s Edge theme park recreating the Disney Parks’ own Ithorian character, antiquities dealer Dok Ondar. Now though, at last, we can get our hands on the real deal. Click through to see Momaw and plenty more reveals—including new Star Wars Rebels figures for fans who didn’t get their hands on the lavish crowdfunded replica of the Ghost, lots of Iron Men for the Marvel Legends line, and more!
In the last couple of years, it feels like more big name actors have come into the MCU rather than relative unknowns and rising stars. From Harrison Ford to Oscar Isaac and Aubrey Plaza, anyone’s up for grabs these days—unless you’re Kristen Stewart, that is.
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Guesting on the “Not Skinny but Not Fat” podcast, the Love Lies Bleeding star was pretty frank in not having any interest in suiting up anytime soon. “It sounds like a fucking nightmare,” she said. Having been in the Twilight series and co-starring in 2012’s Snow White & the Huntsmanalongside MCU veteran Chris Hemsworth, she doesn’t think she’s too good for these movies. Rather, her issue with the megafranchise is a fairly common one amongst audiences: they feel like they’re designed by committee and don’t allow for much in the way of creative freedom, both for a particular film’s director or the performers themselves.
“You would have to put so much money and so much trust into one person,” she explained, “and it doesn’t happen. What ends up happening is this algorithmic, weird experience where you can’t feel personal at all about it.” In her eyes, “the system would have to change” if she were to actually sign up for a role.
The other thing that would get her onboard? Greta Gerwig. She freely admitted her tune would change if the Barbie and Little Women director approached her with it, she’d sign on. Who could Stewart play, and what Marvel character(s) would Gerwig best be suited for? Let us know who you think they’d mesh with—or if they’d even be good fits for the MCU period—in the comments below.
When the Monsterverse versions of Godzilla and King Kong crossed over in 2021’s Godzilla vs. Kong, it was inevitable that the two beasts would link up again. Surprisingly, that ended up being the immediate next movie in Godzilla x Kong: The New Empire(which doesn’t sound how it’s titled), which sets the two up as allies instead of two dudes beating the crap out of each other. And how does it stack up as the fifth entry in the series?
Rebecca Hall on Filming Godzilla x Kong: The New Empire
Like Godzilla: King of the Monsters before it, New Empire has a mixed reception in the critical circles. As with earlier movies, the human cast aren’t much to write home about, and so much of this is just a lot of setup for the monster fights. But as always, the two Titans are really impressive, both visually and in terms of the sheer spectacle of. It also helps that, as director Adam Wingard’s previously talked about, much of the movie focuses on Kong and Godzilla having wordless, human-free arcs of their own for several stretches of time.
Audiences seem to be more onboard with Empire than critics. At time of writing, it’s made $80 million in the US, significantly higher than its initial $45-55 million projections. With $194 million worldwide (at time of writing), it’s helped the franchise cross $2 billion at the box office and is said to be the fifth-biggest Easter opening ever. Folks have really taken a shine to this series, and it probably doesn’t hurt that Godzilla Minus One sparked some interest in the radioactive lizard from anyone previously uninterested.
For this weekend’s Open Channel, we want to know what you thought about New Empire. How’s it stack up to the earlier movies, and what do you want out of the MonsterVerse next? Let us know in the comments below.
Born October 19, 1996, Perdomo made his acting debut in the 2016 short film Longfield Drive. The following year, he jumped over to TV as Henry Goodall in the Canadian series Hetty Feather before taking on small bit parts in other series. His breakout role came with Netflix’s Chilling Adventures of Sabrinaas Ambrose Spellman, followed by a regular role as Andre Anderson for The Boys’ spinoff Gen Vover at Prime Video.
“[Chance’s] passion for the arts and insatiable appetite for life was felt by all who knew him, and his warmth will carry on in those who he loved dearest,” said his reps in a statement. “We ask to please respect the family’s wish for privacy as they mourn the loss of their beloved son and brother.”
In their own statement, the Gen V producers were blindsided to hear of Perdomo’s passing. “For those of us who knew him and worked with him, Chance was always charming and smiling,” they wrote. “[He was] an enthusiastic force of nature, an incredibly talented performer, and more than anything else, just a very kind, lovely person. Even writing about him in the past tense doesn’t make sense. We are so sorry for Chance’s family, and we are grieving the loss of our friend and colleague. Hug your loved ones tonight.”
“The entire Gen V family is devastated by the sudden passing of Chance Perdomo,” wrote fellow producers Amazon MGM and Sony Pictures TV. “[We] extend our heartfelt thoughts and support to Chance’s family and all who loved him at this difficult time.”
Here we are again, gang: Glasgow Worldcon has unveiled its list of nominees for this year’s Hugo Awards. Once again, Worldcon is changing locations: this time, it’ll be Glasgow, Scotland that’ll host the annual ceremony celebrating the year’s best genre media like sci-fi and fantasy books, TV, games, and criticism.
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Nominee highlights include Ann Leckie’s Translation State and The Adventures of Amina al-Sirafi S. A. Chakraborty for Best Novel, while Wang Jinkang’s Seeds of Mercury and T. Kingfisher’s Thornhedge feature in Best Novella. Video game nominees include 2023 big dogs like Star Wars Jedi: Survivor and Baldur’s Gate 3, and TV is headlined by the likes of Loki and The Last of Us’ respective standout episodes “Glorious Purpose” and “Long, Long Time.”
The 82nd Hugo Awards will take place on Sunday, August 11, and the full list of nominees can be read down below.
Lodestar Award for Best YA Book
Abeni’s Song by P. Djèlí Clark (Starscape)
Liberty’s Daughter by Naomi Kritzer (Fairwood Press)
Promises Stronger than Darkness by Charlie Jane Anders (Tor Teen)
The Sinister Booksellers of Bath by Garth Nix (Katherine Tegen Books, Gollancz and Allen & Unwin)
To Shape a Dragon’s Breath by Moniquill Blackgoose (Del Rey)
Unraveller by Frances Hardinge (Macmillan Children’s Books; eligible due to 2023 U.S. publication by Amulet)
Astounding Award for Best New Writer
Moniquill Blackgoose (1st year of eligibility)
Sunyi Dean (2nd year of eligibility)
Ai Jiang (2nd year of eligibility)
Hannah Kaner (1st year of eligibility)
Em X. Liu (1st year of eligibility)
Xiran Jay Zhao (eligibility extended at request of Dell Magazines)
Best Fan Artist
Iain J. Clark
Sara Felix
Dante Luiz
Laya Rose
Alison Scott
España Sheriff
Best Fan Writer
Bitter Karella
James Davis Nicoll
Jason Sanford
Alasdair Stuart
Paul Weimer
Örjan Westin
Best Semiprozine
Escape Pod, editors Mur Lafferty and Valerie Valdes; assistant editors Benjamin C. Kinney, Premee Mohamed and Kevin Wabaunsee; hosts Tina Connolly and Alasdair Stuart; producers Summer Brooks and Adam Pracht; and the entire Escape Pod team
FIYAH Literary Magazine, publisher and executive editor DaVaun Sanders, poetry editor B. Sharise Moore, special projects manager L. D. Lewis, art director Christian Ivey, acquiring editors Rebecca McGee, Kerine Wint, Joshua Morley, Emmalia Harrington, Genine Tyson, Tonya R. Moore, sponsor coordinator Nelson Rolon
GigaNotoSaurus, editor LaShawn M. Wanak, associate editors Mia Tsai and Edgard Wentz, along with the GNS Slushreaders Team
khōréō, produced by Aleksandra Hill, Zhui Ning Chang, Kanika Agrawal, Isabella Kestermann, Rowan Morrison, Sachiko Ragosta, Lian Xia Rose, Jenelle DeCosta, Melissa Ren, Elaine Ho, Lilivette Domínguez, Jei D. Marcade, Jeané Ridges, Isaree Thatchaichawalit, Danai Christopoulou, M. L. Krishnan, Ysabella Maglanque, Aaron Voigt, Adil Mian, Alexandra Millatmal, E. Broderick, K. S. Walker, Katarzyna Nowacka, Katie McIvor, Kelsea Yu, Marie Croke, Osahon Ize-Iyamu, Phoebe Low, S. R. Westvik, Sara S. Messenger
Strange Horizons, by the Strange Horizons Editorial Collective
Uncanny Magazine, publishers and editors-in-chief: Lynne M. Thomas and Michael Damian Thomas; managing editor Monte Lin; nonfiction editor Meg Elison; podcast producers Erika Ensign and Steven Schapansky.
Best Fanzine
Black Nerd Problems, editors Omar Holmon and William Evans
The Full Lid, written by Alasdair Stuart and edited by Marguerite Kenner
Idea, editor Geri Sullivan
Journey Planet, edited by Michael Carroll, Vincent Docherty, Sara Felix, Ann Gry, Sarah Gulde, Allison Hartman Adams, Arthur Liu, Jean Martin, Helena Nash, Pádraig Ó Méalóid, Yen Ooi, Chuck Serface, Alan Stewart, Regina Kanyu Wang, James Bacon and Christopher J. Garcia
Nerds of a Feather, Flock Together, editors Roseanna Pendlebury, Arturo Serrano, Paul Weimer; senior editors Joe Sherry, Adri Joy, G. Brown, Vance Kotrla.
Unofficial Hugo Book Club Blog, editors Olav Rokne and Amanda Wakaruk
Best Fancast
The Coode Street Podcast, presented by Jonathan Strahan and Gary K. Wolfe
Hugos There, presented by Seth Heasley
Octothorpe, by John Coxon, Alison Scott, and Liz Batty
Publishing Rodeo, presented by Sunyi Dean and Scott Drakeford
科幻Fans布玛 (Science Fiction Fans Buma), production team 布玛（Buma)，刘路（Liu Lu)，刘倡（Liu Chang)
Worldbuilding for Masochists, presented by Marshall Ryan Maresca, Rowenna Miller, Cass Morris and Natania Barron
Best Editor (Short Form)
Scott H. Andrews
Neil Clarke
刘维佳 (Liu Weijia)
Jonathan Strahan
Lynne M. Thomas & Michael Damian Thomas
杨枫 (Yang Feng)
Best Editor (Long Form)
Ruoxi Chen
Lindsey Hall
Lee Harris
Kelly Lonesome
David Thomas Moore
姚海军 (Yao Haijun)
Best Professional Artist
Micaela Alcaino
Rovina Cai
Galen Dara
Dan Dos Santos
Tristan Elwell
Alyssa Winans
Best Dramatic Presentation (Short Form)
Doctor Who: “The Giggle”, written by Russell T. Davies, directed by Chanya Button (Bad Wolf with BBC Studios for The BBC and Disney Branded Television)
Loki: “Glorious Purpose”, screenplay by Eric Martin, Michael Waldron and Katharyn Blair, directed by Justin Benson and Aaron Moorhead (Marvel / Disney+)
The Last of Us: “Long, Long Time”, written by Craig Mazin and Neil Druckmann, directed by Peter Hoar (Naughty Dog / Sony Pictures)
Star Trek: Strange New Worlds: “Those Old Scientists”, written by Kathryn Lyn and Bill Wolkoff, directed by Jonathan Frakes (CBS / Paramount+)
Star Trek: Strange New Worlds: “Subspace Rhapsody”, written by Dana Horgan and Bill Wolkoff, directed by Dermott Downs (CBS / Paramount+)
Doctor Who: “Wild Blue Yonder”, written by Russell T. Davies, directed by Tom Kingsley (Bad Wolf with BBC Studios for The BBC and Disney Branded Television)
Best Dramatic Presentation (Long Form)
Barbie, screenplay by Greta Gerwig and Noah Baumbach, directed by Greta Gerwig (Warner Bros. Studios)
Dungeons & Dragons: Honor Among Thieves, screenplay by John Francis Daley, Jonathan Goldstein and Michael Gilio, directed by John Francis Daley and Jonathan Goldstein (Paramount Pictures)
Nimona, screenplay by Robert L. Baird and Lloyd Taylor, directed by Nick Bruno and Troy Quane (Annapurna Animations)
Poor Things, screenplay by Tony McNamara, directed by Yorgos Lanthimos (Element Pictures)
Spider-Man: Across the Spider-Verse, screenplay by Phil Lord, Christopher Miller and Dave Callaham, directed by Joaquim Dos Santos, Kemp Powers and Justin K. Thompson (Columbia Pictures / Marvel Entertainment / Avi Arad Productions / Lord Miller / Pascal Pictures / Sony Pictures Animation)
流浪地球2 / The Wandering Earth II, based on the novel by 刘慈欣 Liu Cixin, screenplay by 杨治学 Yang Zhixue, 郭帆 / Frant Gwo, 龚格尔 Gong Geer, and 叶濡畅 Ye Ruchang, script consultant 王红卫 Wang Hongwei, directed by 郭帆 / Frant Gwo (中影创意（北京）电影有限公司 / CFC Pictures Ltd, 郭帆（北京）影业有限公司 / G!Film (Beijing) Studio Co. Ltd, 北京登峰国际文化传播有限公司 / Beijing Dengfeng International Culture Communication Co, Ltd, 中国电影股份有限公司 / China Film Co. Ltd)
Best Related Work
All These Worlds: Reviews & Essays by Niall Harrison (Briardene Books)
中国科幻口述史, 第二卷, 第三卷，(Chinese Science Fiction: An Oral History, vols 2 and 3) ed. 杨枫 / Yang Feng (8-Light Minutes Culture & Chengdu Time Press)
A City on Mars by Kelly Weinersmith and Zach Weinersmith (Penguin Press; Particular Books)
The Culture: The Drawings, by Iain M. Banks (Orbit)雨果X访谈 (Discover X), presented by 王雅婷 (Tina Wong)
A Traveller in Time: The Critical Practice of Maureen Kincaid Speller, by Maureen Kincaid Speller, edited by Nina Allan (Luna Press Publishing)
Best Graphic Story/Comic
Bea Wolf, written by Zach Weinersmith, art by Boulet (First Second)
Saga, Vol. 11 written by Brian K. Vaughan, art by Fiona Staples (Image Comics)
Shubeik Lubeik, Deena Mohamed (Pantheon); as Your Wish Is My Command (Granta)
三体漫画：第一部 / The Three Body Problem, Part One, adapted from the novels by 刘慈欣 (Liu Cixin), written by 蔡劲 (Cai Jin),戈闻頔 (Ge Wendi), and 薄暮 (Bo Mu), art by 草祭九日东 (Caojijiuridong) (Zhejiang Literature and Art Publishing House)
The Witches of World War II written by Paul Cornell, art by Valeria Burzo (TKO Studios LLC)
Wonder Woman Historia: The Amazons written by Kelly Sue DeConnick, art by Phil Jimenez, Gene Ha and Nicola Scott (DC Comics)
Best Game or Interactive Work
Alan Wake 2, developed by Remedy Entertainment, published by Epic Games
Baldur’s Gate 3, produced by Larian StudiosChants of Sennaar, developed by Rundisc, published by Focus Entertainment
DREDGE, developed by Black Salt Games, published by Team17
The Legend of Zelda: Tears of the Kingdom, produced by Nintendo
Star Wars Jedi: Survivor, developed by Respawn Entertainment, published by Electronic Arts
Best Series
The Final Architecture by Adrian Tchaikovsky (Tor)
Imperial Radch by Ann Leckie (Orbit)
The Last Binding by Freya Marske (Tor)
The Laundry Files by Charles Stross (Tor)
October Daye by Seanan McGuire (DAW)
The Universe of Xuya by Aliette de Bodard (Gollancz; JABberwocky Literary Agency; Subterranean Press; Uncanny Magazine; et al.)
Best Short Story
“Answerless Journey”, Han Song / 没有答案的航程, 韩松, translated by Alex Woodend (Adventures in Space: New Short stories by Chinese & English Science Fiction Writers)
“Better Living Through Algorithms” by Naomi Kritzer (Clarkesworld May 2023)
“How to Raise a Kraken in Your Bathtub” by P. Djèlí Clark (Uncanny Magazine, January-February 2023)
“The Mausoleum’s Children” by Aliette de Bodard (Uncanny Magazine, May-June 2023)
“The Sound of Children Screaming” by Rachael K. Jones (Nightmare Magazine, October 2023)
美食三品 (“Tasting the Future Delicacy Three Times”), 宝树 / Baoshu (银河边缘013：黑域密室 / Galaxy’s Edge Vol. 13: Secret Room in the Black Domain)
Best Novelette
I AM AI by Ai Jiang (Shortwave)
“Introduction to 2181 Overture, Second Edition”, Gu Shi /〈2181序曲〉再版导言, 顾适 translated by Emily Jen (Clarkesworld, February 2023)
“Ivy, Angelica, Bay” by C.L. Polk (Tor.com 8 December 2023)
“On the Fox Roads” by Nghi Vo (Tor.com 31 October 2023)
“One Man’s Treasure” by Sarah Pinsker (Uncanny Magazine, January-February 2023)
“The Year Without Sunshine” by Naomi Kritzer (Uncanny Magazine, November-December 2023)
Best Novella
“Life Does Not Allow Us to Meet”, He Xi / 人生不相见, 何夕, translated by Alex Woodend (Adventures in Space: New Short stories by Chinese & English Science Fiction Writers)
Mammoths at the Gates by Nghi Vo (Tor)
The Mimicking of Known Successes by Malka Older (Tor)
Rose/House by Arkady Martine (Subterranean)
“Seeds of Mercury”, Wang Jinkang / 水星播种, 王晋康, translated by Alex Woodend (Adventures in Space: New Short stories by Chinese & English Science Fiction Writers)
Thornhedge by T. Kingfisher (Tor)
Best Novel
The Adventures of Amina al-Sirafi by Shannon Chakraborty (Harper Voyager)
The Saint of Bright Doors by Vajra Chandrasekera (Tor)
Freaky Friday—the 2003 version that’s become one of Disney’s standout early-aughts live-action teen movies—is finally getting a sequel.
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After years of saying they’d do it, Jamie Lee Curtis (Borderlands) and Lindsay Lohan (Irish Wish) have finally manifested Freaky Friday 2, which they teased today in an Instagram post. The Hollywood Reporter also confirmed the news that Hulu’s Welcome to Chippendales filmmaker Nisha Ganatra is aboard to direct the reunion, and that producer Andrew Gunn will return to oversee the film with ex-Disney exec Kristen Burr.
Freaky Friday has been a recurrent franchise at Disney since the 1976 film starring Jodie Foster and Barbara Harris as the teen daughter and mom who switch bodies. Both that film and the 2003 remake are based on Mary Rodgers’ novel by the same name, which has had numerous other adaptations, including a musical, all centering on the classic comedic dynamic that comes when characters plunge right into the generation gap—not to mention the fun of seeing a young actor get to play a mom in the wrong body, and vice versa. As THR notes, “Lohan is no longer a teen and the new script, by Jordan Weiss, is said to bring a multigenerational approach to the story.”
Disney has yet to reveal if Freaky Friday 2, which starts shooting this summer, will be getting a theatrical release or going straight to Disney+.
Rich communication services (RCS) is already a big deal on Android phones with more than a billion users. Those numbers might be going up by the fall, as Google claims Apple will be joining the RCS party.
Apple Unveils Its iPhone 15 and Apple Watch Series 9
A page for Google Messages lists the benefits of RCS, and it also just happened to have a slide saying the feature will come to the iPhone, as first spotted by 9to5Google Thursday.
“Apple has announced it will be adopting RCS in the fall of 2024,” the now-deleted slide said.
Google and Apple didn’t immediately respond to a request for comment on this deleted slide.
Apple already began work on implementing RCS compatibility with its upcoming iPhone last year, but this is the first mention of when this momentous occasion would happen. The timing does seem appropriate as Apple routinely releases its new iPhone in the fall. This could be one of the many announcements of new features for iOS 18 happening in June at Apple’s WWDC.
As for what this means for Android and iPhone users, it could be the end of the green and blue bubble drama. Now this doesn’t mean that the different color bubbles will go away or that Android phones will now have access to iMessage. Android users will still have the green bubble when texting someone with an iPhone. However, things like emoji reactions, message receipts, and high-resolution pictures and videos could be available between the two devices.
Texts were one of the points the Department of Justice focused on when it decided to file a lawsuit against Apple for creating a monopoly on the iPhone. In the suit, there was an interaction CEO Tim Cook had with an individual who said how it was tough for him to send her photos as she was on an Android phone. Cook then told the person, “Buy your mom an iPhone.”
Live ordnance from both the First and Second World Wars are more likely to detonate as they age, according to a new study published in Royal Society Open Science.
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“The munitions are continuously deteriorating, resulting in the release of hazardous materials into the environment, potentially posing environmental and societal risks,” the researchers wrote. “Moreover, as the explosives deteriorate over time, often resulting from inferior storage conditions or the presence of undesired factors such as moisture and certain metals, the munitions may become increasingly sensitive to external stimuli and susceptible to accidental detonation.”
The team studied Amatols, explosive combinations of TNT and ammonium nitrate, extracted from historical ordnance in Norway. Amatols were first cooked up in 1915, when the United Kingdom found itself short on artillery shells during the First World War. For several decades—through the Second World War—Amatols were used as a convenient substitute for pure TNT in explosives.
The ordnance recovered in Norway was live—i.e., set to explode—and was found during explosive ordnance disposal operations designed to avoid that very thing. All the ordnance studied by the team was produced before May 1945 and German-made.
To test the sensitivity of the bombs, the team used a device called a fallhammer apparatus. The contraption is basically what it sounds like: masses are dropped on an explosive substance to determine the amount of force that is required to catalyze a reaction.
Surprisingly, the ordnance was wholesale more sensitive to detonation today than it would have been when it was dropped. In the case of one explosive combination (dubbed “substance B” in the research), the explosive was four times more sensitive than expected.
The team couldn’t determine what made the munitions more sensitive some 80 years after they were dropped. It may be the formation of salts that sensitize the mixture, they posited, or the contamination of the Amatol with metals the substances come into contact with in the ground. It may simple be the bombs losing structural integrity as they’ve sat in the ground over the decades.
Increasingly sensitive bombs in the ground are a problem all over Europe and, frankly, wherever bombs have been dropped. In Germany, over 2,000 tons of munitions are found annually, and in the UK, thousands of explosive objects are found and safely dealt with each year. In Italy, about 60,000 pieces of unexploded ordnance are found each year, according to Atlas Obscura. And in Belgium, excavating explosive relics of the First World War remains a daily struggle. Overall, there are millions of tons of long-forgotten explosive ordnance, the team estimated.
Furthermore, even undisturbed ordnance leaches toxic compounds into the ground as it deteriorates, the team wrote, posing a unique, vexing ecological problem.
The team stressed the importance of getting the historical ordnance out of the ground, and taking even more care than is typical to do so. After all, no one wants to be on the receiving end of a particularly sensitive bombshell.
Human instinct dictates that when we see a toy, we want to open it. It’s why old toys that are still in their box are so valuable. Everyone who bought them as a child opened and played with them, making ones still in the package much rarer. But what if there were toys that went against that instinct? Toys not meant to be played with. Toys meant to be displayed where the packaging is as much of the experience as the figure itself, if not more so?
That’s exactly the type of toys artist Adam Perocchi makes. A New England resident and native, under the name “Readful Things” Perocchi makes art in the shape of a toy, package and all. It’s a way for him to explore a love of pop culture, as well as sculpting and painting. “I’ve been painting/drawing since I was a kid [and] I got into sculpting about eight years ago,” Perocchi told io9. “I wanted a way to combine my sculpts with my artwork, so I thought carded action figures would be a good way to marry the two things.” Which he now does almost daily, working on five or six pieces simultaneously, sculpting a figure as well as doing the artwork for the package.
Perocchi covers all types of subjects, from classic pop culture to new favorites, or even sometimes things that are much more specific. “Occasionally I’ll do some current pop culture internet zeitgeist thingy (Pop Tart being cooked alive, Star Wars Cerveza Cristal, etc), and those will supersede everything else,” he said. In this slideshow, you’ll see a bit of all of it. We’ve hand-selected just a taste of Perocchi’s incredible work, running the gamut of genres, eras, and more. And to see even more, you can visit his Instagram where he showcases most of his work, or his official site, where he occasionally does art without the toy.
So that’s Deadpool & Wolverine, the movie, in theaters July 26. There’s also Deadpool and Wolverine, the Marvel Comics characters, and they feature prominently on this gorgeous officially licensed art by Doaly that’s now on sale at MoorArtGallery.com.
Image: Marvel/Doaly
This piece is actually called Deadpool vs. Wolverine, which is a smart way to distinguish it from the movie. But also, it’s not a coincidence that it’s being released around the same time, and Deadpool himself would approve of the crossover. Plus, in the piece, we get the cheeky twist of it being Deadpool saying Wolverine’s trademark sound. So is it Deadpool who has the claws or Wolverine? It’s art, whatever you say goes.
So no, this isn’t a Deadpool & Wolverine poster. But it’s a Deadpool and Wolverine poster. Which is kind of the same. Same characters, different syntax. The piece is a 16 x 24 inch giclée with an embossed seal that comes with an artist-signed certificate of authenticity. It’s a limited edition of $250 and costs about $70. Get all the details over at MoorArtGallery.com.
So-called activist investor Nelson Peltz, who’s aiming to win two Disney board seats, has stirred up some controversy by calling out Disney’s recent era of “woke” strategy through diversifying its slate of films at Marvel Studios.
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The 81-year-old businessman, whose experience is with food companies including Wendy’s and H.J. Heinz as well as having once supported the DeSantis presidential campaign, had a lot to say about The Marvels and Black Pantherin an interview with the Financial Times. “Why do I have to have a Marvel [movie] that’s all women?” Peltz asked the publication. “Not that I have anything against women, but why do I have to do that? Why can’t I have Marvels that are both? Why do I need an all-Black cast?” Side note: Peltz happens to be the father of Nicola Peltz, who played Katara in 2010’s infamously very white Last Airbenderadaptation.
He continued, “People go to watch a movie or a show to be entertained. They don’t go to get a message.” Since he also claimed that he doesn’t have experience in media, it’s interesting to note that Peltz’s Trian Partners is pushing for this vote as part of Ike Perlmutter’s hopes for retaliation against Disney CEO Bob Iger, who terminated him from Marvel Entertainment last year. Variety reported that, “Trian controls roughly $3.5 billion worth of Disney stock, 79% of which is owned by Perlmutter.” This goes back to Perlmutter’s feud with Kevin Feige, who pushed for Black Panther and Captain Marvel. Perlmutter fought against diversity in Marvel’s slate until Iger stepped in to force his hand and allow the films to be made.
Ryan Coogler’s Black Panther, starring the late Chadwick Boseman, was a hit with $1.35 billion at the worldwide box office; it kicked off the Academy Award-winning franchise and brought more inclusivity to the Marvel Cinematic Universe. Proving Perlmutter wrong publicly while revealing the lengths the forner Marvel exec went to in order to stop diverse superhero toys, merch, and movies being made really propelled Feige into the public’s good graces. Recent misses for the studio including The Marvels havecaused some Marvel watchers to wonder if Feige’s position should be called into question. When asked by the Financial Times if it should, Peltz responded, “I’m not ready to say that, but I question his record.”
Disney board member George Lucas recently stood up against Peltz by releasing a statement (reprinted in Variety and elsewhere) to support Bob Iger in rejecting his bid. “Creating magic is not for amateurs,” Lucas said in a shot right at Peltz, who also admitted to the Financial Times he’s been a bit of a bully. (“What sense is being a billionaire if you’re not a bully?” Peltz has been quoted as saying.) Which is such a strange stance to bring into Disney, standing directly against all it represents.
Lucas continued, “When I sold Lucasfilm just over a decade ago, I was delighted to become a Disney shareholder because of my longtime admiration for its iconic brand and Bob Iger’s leadership.” He added, “When Bob recently returned to the company during a difficult time, I was relieved. No one knows Disney better. I remain a significant shareholder because I have full faith and confidence in the power of Disney and Bob’s track record of driving long-term value. I have voted all of my shares for Disney’s 12 directors and urge other shareholders to do the same.”
Peltz aims to add more board seats for his hedge fund firm through his Disney bid and support the agenda that Ike Perlmutter, his silent third party partner, has advocated for during his Disney tenure. The Hollywood Reporter disclosed that Perlmutter had this up his sleeve as soon as he was terminated, as he immediately pledged his stakes in Disney to Peltz. Before Iger came back Peltz had attempted a proxy battle with the company as a result of its losses, but was held off by his return. With this seat bid he hopes for round two in having more direct influence on the company board.
Technology has become so ingrained into our lives that we often don’t stop to think about the electronics—small, delicate, and powerful—that have to work in perfect harmony to make our favorite gadget work. In my case, I would have never imagined that Apple’s Lightning charger, a bane of my existence, would have as many tiny wires as a tree has roots.
The engineers over at Lumafield are all about inspecting the electronics that make our world hum. To do so, they run all sorts of devices—as well as the occasional bag of Cheetos and sometimes bugs—through CT scanners.
As the folks at Lumafield point out, you can run gadgets through CT scanners to detect internal defects and imperfections in electronics, such as misaligned components and faulty shoulder joints, without taking them apart and potentially destroying them.
Besides helping the people who make and repair these gadgets find potential flaws, a CT scan can also give the public a look at how much goes into making these seemingly “simple” devices work. Take the 2023 Furby update, for instance, whose ears appear to move randomly.
“The CT scans show a pair of rack-and-pinion assemblies responsible for the ear movements. These assemblies are connected to linear actuators and uniquely shaped cams with wobbly paths. As these cams rotate, they transform the motor’s constant rotation into seemingly random back-and-forth movements,” Lumafield wrote in its Furby analysis.
Click through to check out what some other popular gadgets look like under the CT scanner. You may be surprised at how complex they are under the hood.
A man from suburban Kansas City was falsely accused in social media posts of being a mass shooter at the Super Bowl parade for the Kansas City Chiefs last month. And now that man has filed a defamation lawsuit against Rep. Tim Burchett, a Republican from Tennessee, who helped spread the inaccurate claim, according to KCTV.
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Burchett shared a photo of Denton Loudermill on X, with the caption, “One of the Kansas City Chiefs victory parade shooters has been identified as an illegal Alien.”
Aside from falsely implicating Loudermill in the shooting on Feb. 14, Burchett also called him an “illegal alien,” another statement that simply wasn’t true. The mass shooting killed one person and wounded 22 others, including 11 children. Three people—23-year-old Lyndell Mays, 18-year-old Dominic Miller, and 20-year-old Terry Young—have been charged in the shooting.
Loudermill was just trying to leave the parade area after the chaos of the shooting and tried to duck under some police tape, according to his lawsuit. Loudermill, who wasn’t charged or cited for anything, was only briefly detained, but photos of him in handcuffs started to circulate online with a sinister narrative.
Five days after his original tweet, Rep. Burchett deleted it, blaming “incorrect news reports” as the source of his information. But he didn’t retract the claim that Loudermill was one of the shooters.
“It has come to my attention that in one of my previous posts, one of the shooters was identified as an illegal alien. This was based on multiple, incorrect news reports stating that. I have removed the post,” Burchett tweeted.
Burchett blamed “news reports,” but there wasn’t a single reputable news outlet that claimed the man in that photo was an illegal alien nor someone who’d been arrested for perpetrating the shooting. It was all bullshit being peddled by far-right X accounts like End Wokeness, an anonymous account popular with X’s owner Elon Musk.
Screenshot: X
Burchett appears to have gotten his “news” from X accounts that have no problem with spreading false information that fits with their narrative.
In fact, many X accounts used photos of Denton Loudermill while falsely claiming he was someone named “Sahil Omar,” a name that’s been used previously by right-wing trolls to insist all mass shooters must be foreign-born. The fictional “Sahile Omar” has been blamed for other crimes, including mass shootings in Las Vegas and Prague, according to the BBC.
Loudermill’s lawsuit is seeking $75,000 in damages from Burchett, according to KCTV, though it’s not yet clear if he’s going to sue others who helped spread the false claims on social media.
“The false identification of Plaintiff as an ‘illegal alien’ and ‘shooter’ has caused [Loudermill] in Kansas to receive death threats and to suffer mental distress from having been exposed to public view and more specifically to experience periods of anxiety, agitation, and sleep disruption and such damages are likely to continue into the future,” the lawsuit states, according to KCTV.
“The acts and conduct of Defendant caused Plaintiff to suffer injuries and actual damages including mental distress, sleeplessness, anxiety, and agitation…as well as emotional suffering, humiliation, embarrassment, insult, and inconvenience.”
As the band Europe once sang, it’s the final countdown, at least for United Launch Alliance’s Delta IV Heavy, which is set to retire following its final flight on Thursday, March 28. The classified mission also marks the end of an era that began more than 60 years ago, with ULA bidding farewell to the Delta series.
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The triple core rocket is slated to launch at 1:40 p.m. ET on Thursday, blasting off from Space Launch Complex-37 at Cape Canaveral Space Force Station in Florida. The weather forecast isn’t great, with ULA predicting a 30% chance of favorable conditions. Should bad weather force a scrub, ground teams will try again 24 hours later. The Delta IV Heavy is carrying a classified payload for the National Reconnaissance Office, likely a spy satellite, as part of the NROL-70 mission.
In its press materials, ULA described the Delta IV Heavy as the “most metal” of rockets. The reason for this has to do with the dramatic, and even startling, way in which the rocket blasts off. Seconds before its engines roar to life, a fireball engulfs the base of the rocket, causing a fire that chars the booster exterior.
This has to do with excess hydrogen burn-off. Prior to ignition, hydrogen fuel creeps out from the engines and up the side of the booster (it’s like starting a gas cooktop or a propane barbecue—some gas has to escape before you click the ignition button). When the engines are ignited, this excess hydrogen catches fire, causing the brief—but intense—fireball. This phenomenon is actually a normal and expected part of the launch process. A 2018 video (below) describes the process in more detail.
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This is the last flight for the 235-foot-tall (72-meter) Delta IV Heavy, which debuted in 2002. It’s also the end of the road for the Delta program. The NROL-70 mission marks the 16th launch of Delta IV Heavy and the 389th for the Delta family, according to AmericaSpace. Established by the U.S. government in 1960, the Delta program was set up to develop a suite of expendable launch vehicles for space missions, ranging from satellite deployments to deep space explorations. ULA’s new Vulcan Centaur rocket, which debuted in January, is designed to replace the Deltas.
The two-stage Delta IV Heavy consists of three booster cores, each powered by a RS-68A engine. Each of these engines produce 705,000 pounds of force at liftoff, making it one of the most powerful liquid hydrogen/liquid oxygen engines in the world. For its second stage, the Delta IV Heavy uses a single RL10C-2-1 engine (also fueled by liquid hydrogen and oxygen), capable of generating 24,750 pounds of thrust. A 16-foot-tall (5-meter) payload fairing completes the assembly.
The Delta IV Heavy’s first launch on December 21, 2004, was a partial failure (the dummy payload didn’t reach the targeted orbit), but it remains the only blemish in an otherwise perfect career. Its first successful operational mission was in 2007, sending an NRO reconnaissance satellite into space. Notable missions include launching NASA’s Orion spacecraft for the EFT-1 mission in 2014 (Orion is now a key fixture of the space agency’s Artemis program) and the Parker Solar Probe in 2018.
At the time of its debut, the Delta IV Heavy was the most powerful rocket launched from Cape Canaveral, save for the Saturn V and the Space Shuttle Launch System, according to Florida Today. Currently, only NASA’s Space Launch System and SpaceX’s Falcon Heavy are more powerful (Starship doesn’t count, as it’s not yet ready for prime time). Its replacement, the 202-foot-tall (61.6-meter) Vulcan Centaur rocket, offers greater flexibility and can be configured with zero, two, four, or six solid rocket boosters to meet specific mission requirements.
So it’s out with the old and in with the new. The Delta IV Heavy has done its bit for king and country, but now it’s time for an update—and an overdue one at that. Vulcan represents ULA’s first new rocket design since the company began in 2006 (ULA, a joint venture between Lockheed Martin and Boeing, inherited Delta from its predecessors). Sure, we’ll miss those frightening fireballs at launch, but the future awaits.
For more spaceflight in your life, follow us on X and bookmark Gizmodo’s dedicated Spaceflight page.
We’re at the stage in the evolution of the TV where it’s pretty difficult to buy a bad one, but at the same time, it can be tricky to pick out the perfect model from the many options available. Every year, a swathe of new sets come out, which means the current bunch gets knocked down in price, giving you an even larger selection to consider.
Here, we’ll highlight some of our absolute favorites from the television sets you can buy in 2024—in no particular order—and explain some of the key technologies and specs you need to know about. As we go through the year, more sets and models will join these ones, and we’ll make changes to this list as needed.
LG G3
Image: LG
Available sizes: 55, 65, 77, 83 inches
Display tech: OLED / 4K
Starting price: $2,500
The LG G3 is a simply stunning TV set that’s undoubtedly one of the best televisions you can buy right now. It’s got LG’s superb OLED technology, meaning fantastic contrast and ultra-deep blacks, and it can make almost any video source look like a million dollars.
Speaking of a million dollars, these models aren’t cheap but worth the investment. The top-tier HDR handling and anti-reflective coating on the display add to the overall impressiveness, and everything from sports to movies is capably handled.
The four HDMI 2.1 ports will interest gamers too – they’re able to run a 4K resolution at 120Hz, with support for VRR and ALLM – and the sound doesn’t let this set down either. There aren’t many reasons not to seriously consider this for your next TV upgrade.
Samsung QN95C
Image: Samsung
Available sizes: 55, 65, 75, 85 inches
Display tech: Mini-LED / 4K
Starting price: $3,000
There’s been a lot of time and effort put into the Samsung QN95C, and it shows, no matter what size you go for. With more than 1,300 local dimming zones and a gorgeous mix of color, brightness, and contrast levels, it’s almost like a Mini-LED that thinks it’s an OLED.
Samsung has packed a lot of tech into this TV, with many fancy-sounding names attached—like the Neural Quantum Processor, for example—but all you really need to know is that this TV produces picture and motion quality worthy of the set’s flagship status.
You have strong HDR performance here, an impressive 4.2.2-channel speaker layout, and four HDMI 2.1 ports that can cope with the 4K/120Hz output of the best game consoles. We also like Samsung’s slick and straightforward smart TV interface.
TCL QM8
Image: TCL
Available sizes: 65, 75, 85, 98 inches
Display tech: Mini-LED / 4K
Starting price: $1,700
The TCL QM8‘s sizes range from a giant 98 inches to a small 98 inches, so of course, pick the one that suits your available space and your available budget. But whatever the size, it’s difficult to beat this Mini-LED TV for value, no matter what you’re using it to watch.
You’ll often see this television advertised with a football on screen, a nod to the strength of the screen’s handling of anything that moves fast. It’s good for gaming, too, with its high brightness levels, low input lag, and low response time, which are particularly noteworthy.
We’ve noticed that the TCL QM8 is getting cheaper as time has passed, meaning it’s becoming even better for money than initially. Add a decent sound setup and a more than decent build quality and design, and it earns its place here.
Hisense U7K
Image: Hisense
Available sizes: 55, 65, 75, 85 inches
Display tech: Mini-LED, 4K
Starting price: $630
Most people who’ve used the Hisense U7K have raved about it, and it’s not hard to see why: It produces a rich, clean, fluid picture for everything from movies to shows to sports, and it comes in at a price that undercuts most comparable sets.
As a mid-range model, it’s not going to touch the high-end specs of the flagship TVs, but the Hisense U7K still has a lot to offer: a refresh rate of up to 144Hz on two of the four HDMI ports on the back, for example, as well as support for VRR and all the key HDR standards.
Color quality and uniformity are excellent, and the Google TV interface has everything you need regarding streaming apps, including some. We’re fans of the aesthetics offered by the Hisense U7K, too—right down to the tall, narrow remote.
LG C3
Image: LG
Available sizes: 42, 48, 55, 65, 77 and 83 inches
Display tech: OLED / 4K
Starting price: $1,400
We all have different needs and tastes when it comes to TVs, but there’s a good case to be made that the LG C3 is currently the best television for most people, thanks to its top-tier OLED display tech and very reasonable price point.
All four of the port connections support HDMI 2.1, so gamers needing 4K/120Hz, VRR, and ALLM will be pleased. The virtual surround sound goes up to a 9.1.2 channel system. There’s also support for Dolby Vision, HDR10, and HLG, so HDR is certainly well covered.
It’s the actual experience of viewing movies and shows that matters most, though, and in this regard, the LG C3 is excellent—especially for the price you’re paying. It doesn’t quite reach the heights of the LG G3 and its cutting-edge images, but it’s also significantly cheaper.
Samsung S95C
Image: Samsung
Available sizes: 55, 65, 77 inches
Display tech: OLED / 4K
Starting price: $2,500
Samsung has put just about everything it’s got into the Samsung S95C, and it’s a winning combination of specs, design, and price. It doesn’t come cheap strictly, but you’re getting Samsung’s best TV know-how, including its Quantum Dot-enhanced OLED display tech.
The TV stands out in the most critical areas: peak brightness, color range, and contrast levels. In addition, all the key HDR standards are supported (aside from Dolby Vision), as well as four HDMI 2.1 ports and 4.2.2 channel audio.
Whether you’re watching live sports, the latest movies, or video scaled up from a lower-resolution source, the picture quality is superb in all aspects—from the clarity of the details to the balance of the colors to the crispness of quickly moving scenes.
Sony A95L
Image: Sony
Available sizes: 55, 65, 77 inches
Display tech: OLED / 4K
Starting price: $2,800
Read through any review of the Sony A95L you can find online, and you’ll soon realize this is a TV that wows everyone who comes across it. It offers a combination of sound and vision quality that’s a delight, no matter what you want to spend your time watching.
Of particular note are the high peak brightness levels, the uniformity of the colors displayed by the panel, and the crisp and rich audio. Everything about the set stands out, though only two of the four HDMI slots support the latest 2.1 standard.
The Sony A95L has a high asking price, but sometimes it’s worth paying for the best—and this is one of those times. As with other Sony sets, Google TV is on board, which could be just about the best option out there in terms of integrated smart software.
TCL S4
Image: TCL
Available sizes: 43, 50, 55, 65, 70, 75, 85 inches
Display tech: LED, 4K
Starting price: $280
When we talk about the best products in a particular category, the most expensive models are usually the ones that get mentioned—offering the highest quality components and the best possible specs. Not everyone has the budget to afford the best in class, however.
For many people, the best TV will be the best one they can get for the lowest price, and that’s where sets like the TCL S4 come in. Nothing is to set it apart except that it consistently produces a great picture for little money in relative terms.
This television offers a host of different screen sizes and a sharp 4K resolution. It handles contrast and reflections really well. The key selling point is the price, though, and we don’t think anyone who buys it will have any complaints.
Samsung QN900C
Image: Samsung
Available sizes: 65, 75, 85 inches
Display tech: Mini-LED / 8K
Starting price: $5,000
8K televisions are by no means hitting the mainstream yet, but 4K has been the standard for a long time now, and eventually, the time will come for 8K. The Samsung QN900C is ahead of the game in this respect, though you need a big chunk of change to be able to afford it.
With deep blacks and minimal blooming, this set rivals the best OLED technology in terms of its picture, and you also get a peak brightness of 4,000 nits and expert HDR handling. Pictures consistently look fantastic, and upscaling to 8K is handled fantastically well.
A separate connection box handles four HDMI 2.1 ports—that means just a couple of cables leading to the actual TV, and with its super-thin frames, it’s a TV that’s easy on the eye as well—a flagship set in every sense of the word, with 8K support.
Sony A90K
Image: Sony
Available sizes: 42, 48 inches
Display tech: OLED / 4K
Starting price: $1,300
The Sony A90K is a set that sits somewhere in the middle of Sony’s range, but the trade-offs it makes are sensible ones. It’s a model that we think is likely to appeal to people who want to get maximum bang for their buck with their next upgrade.
It also comes in a smaller size than a lot of TVs you’ll see nowadays, so it’s suitable for rooms that don’t have space for giant sets. You still get the benefits of OLED technology here, so you can expect top-tier color and contrast if not best-in-class brightness levels.
There are four HDMI sockets here, two of which offer HDMI 2.1 (with support for 4K/120Hz input, VRR, and ALLM). As usual, the Sony processor fitted here is very adept at image processing, ensuring a crisp and vibrant image no matter what sources are connected.
Roku Plus
Image: Roku
Available sizes: 55, 65, 75 inches
Display tech: QLED / 4K
Starting price: $500
Why buy a Roku dongle or box when you can buy a Roku TV? Well known for being one of the best smart TV interfaces around, with support for just about every streaming app out there and then some, the Roku Plus series packs all of that inside a television.
It’s not just about the software here, though, because you also get a QLED panel capable of producing a perfect picture. Images have a lot of life and vibrancy to them, with well-balanced colors and impressive HDR handling across the board.
The Roku Plus will particularly appeal to those shopping on a budget because, relatively speaking, you can pick this TV up for not much money at all. You miss out on some features—the four HDMI slots use 2.0, not 2.1—but it’s still excellent value for money.
Amazon Fire TV Omni
Image: Amazon
Available sizes: 43, 50, 55, 65, 75
Display tech: QLED
Starting price: $400
Speaking of televisions with familiar interfaces, the Amazon Fire TV Omni uses the same software that you’ll find on Amazon’s streaming sticks and boxes. If you find that interface appealing and watch a lot of Prime Video, this could be for you.
We like the wide choice of screen sizes here, we like the simple yet stylish design, and we want the way this TV renders movies, shows, and sports. Okay, it’s not quite at the level of the flagships, but then again, you’re paying a lot less to get it in your home.
HDR is well managed, images are typically bright and fluid, and, of course, Amazon Alexa is baked right in (so you can easily ask questions about what you’re watching). This set has four HDMI inputs, though only one of those supports HDMI 2.1.
XGIMI Horizon Ultra
Image: XGIMI
Available sizes: Up to 200 inches
Display tech: Projector / 4K
Starting price: $1,700
If you don’t need a television or a projector, the classy XGIMI Horizon Ultra will serve you very well. It’s been earning a lot of praise for the high quality of its 4K picture, though it certainly doesn’t come cheap.
Everything about this projector looks premium and stylish, right down to the remote control and the sliding door mechanism that reveals the actual projector. Sound is superbly handled here as well, with some engineering help from Harman Kardon.
Assuming you have the wall or projector screen space to handle it, the XGIMI Horizon Ultra will produce bright, sharp, and evenly balanced images. It has two HDMI 2.1 ports and supports attaching USB devices and connecting to the web directly.
Epson Home Cinema 5050UB
Image: Epson
Available sizes: Up to 300 inches
Display tech: Projector / 4K
Starting price: $3,000
You get a certain amount of peace of mind with an Epson projector—the company has been making these devices for a long, long time—and the Epson Home Cinema 5050UB has proved a popular 4K projector choice with both users and professionals.
Brightness rises to a fantastic 2,600 lumens, while the dynamic contrast ratio of 1,000,000:1 also stands out. The projector can generate pictures up to 300 inches, corner to corner, so your home movie nights can be ultra-immersive.
The Epson Home Cinema 5050UB, which has two HDMI 2.0 ports, superbly handles everything from HDR to color management, from motion handling to peak brightness. However, it does not have integrated sound, so you’ll need external speakers.
BenQ X500i
Image: BenQ
Available sizes: Up to 215 inches
Display tech: Projector / 4K
Starting price: $1,700
Just about anything you choose to pipe through the BenQ X500i will look great on a wall or projector screen. If a projector suits you better than a television set, it’s definitely one of the top options out there—especially if you’re using it for gaming.
With 2,200 lumens on offer, support for refresh rates up to 120Hz, and two HDMI 2.0 ports, the projector is strong in every area. That extends to the software, too: Android TV is built right in, so you don’t need to connect anything else to get to your streaming apps.
Most importantly, this projector produces really high-quality pictures, with sharpness, color, and motion all expertly handled. We also like the preset video modes available here, which adjust the projector’s settings based on what you’re viewing.
Since 1994, My Chemical Romance frontman Gerard Way has dipped in and out of making comics. Beyond teaming with Gabriel Bá on The Umbrella Academy, he started DC’s Young Animal imprint, teamed with acclaimed artists such as Nick Derington and Becky Cloonan, and co-created Peni Parker for Marvel. After a three-year absence from comics, Way has a new comic dropping in July from publisher Dark Horse.
Were There Any Scenes Cut Connecting Ghostbusters: Afterlife to Frozen Empire?
Co-written with Shaun Simon (his collaborator on The True Lives of the Fabulous Killjoys) and drawn by Judge Dredd’s Chris Weston, Paranoid Gardens is described as “Derek meets Doctor Who in six psychotic episodes.” The book focuses on a care center worker named Loo, who decides to rise through the ranks of her (possibly sentient) hospital, but not without some roadblocks: along with corrupt staff and theme park cults, she’ll have to face “her own personal demons and trauma to meet this challenge and discover what secrets the gardens hold.”
“I’m excited to be back with my incredibly handsome and talented brother-from-another-basement Shaun Simon,” said Way, “and honored the masterful Chris Weston joined us to create a visually powerful and emotionally tangible physical object that is this comic. I’m now more complete getting to share something we’ve wanted to for a very long time, and working with this fantastic group of individuals in the process.”
Image: Dark Horse Comics
In his own statement, Weston said he, Simon, and Way have created “a wild and psychedelic tale that combines Kafkaesque nightmares with sweet Silver Age reveries. […] You’ll find a curious care-home peopled with aliens, ghosts and caped heroes recovering from psychotic episodes. The very ground it’s built on is febrile and fertile; and lusted after by the minions of Mammon. It’s the perfect remedy for all those stricken with super-hero fatigue and needing a fix of something a bit more mind-bending and unpredictable.”
Paranoid Gardens’ six-issue run will start on July 17.
It’s Day 22 of Gizmodo’s March Madness bracket challenge to name the greatest app of all time and we’ve reached the final round of the Sweet 16. Yesterday’s tournament saw Google Earth running away with more than 87 percent of the vote and HQ Trivia has been eliminated. RIP HQ Trivia. Today we have our most controversial nominee going up against one of the least divisive candidates.
If you’re just tuning in, you can read all about our selection criteria for this historic contest right here. Check out the full bracket of contestants embedded below. And as always, if you think we missed your personal favorite app of all time, yell at us in the comments. Now, let’s get into today’s contestants.
Were There Any Scenes Cut Connecting Ghostbusters: Afterlife to Frozen Empire?
Here’s what we had to say about Uber in the first round:
Uber was a pioneer in at least two ways. It taught Silicon Valley that you can defy regulations as long as you embed yourself in society fast enough. And it became the poster child of burning through investor money for years as long as you make big enough promises. Founded in 2009, the company posted its first annual profit just last year. It spent over a decade stringing investors and the public along with promises of self-driving cars and private helicopters. It managed to reach that milestone by abandoning everything that made Uber a futuristic tech company and focusing on being the glorified cab service it’s always been.
Despite countless articles, best-selling books, a popular TV miniseries documenting all of Uber’s bad behavior, people still seem to love it. Or they at least tolerate it because it’s convenient. And I’m sure there’ve been some edge cases where it filled a hole in rural areas or improved the lives of people with disabilities. So if you want to vote for Uber, we’re making that possible.
And here’s what we wrote about Calculator:
The Calculator app. Not a specific calculator, just whatever calculator is on your phone. We all have one. Calculators were even on dumb phones, but the arrival of the smartphone absolutely wiped out the need for most people to own a dedicated number-crunching device.
So, reader, what’ll it be? Do you want to put Uber on the fast track to the big title or does Calculator earn a slot out of simple respect?
Here are the nominees. Choose your fighter. Graphic: Vicky Leta
