Streaming prices love to go up, but here’s a rare instance in which one is going down. Paramount+ is lowering prices on its two annual plans for a limited time. The cheapest option is just $30 per year, and this gets you the Essentials plan. This is the basic subscription that allows access to Paramount+ programming with ads.

It doesn’t, however, offer access to Showtime. For that, the cost doubles to $60 per year. In addition to the secondary streaming service, this plan offers live CBS streaming and the ability to download shows to a mobile device. This is also an ad-free plan, though live TV still has ads (for obvious reasons.)

For the uninitiated, Paramount+ is home to most, but not all, new Star Trek shows. It also hosts the dad-friendly Tulsa King and the Jeremy Renner vehicle Mayor of Kingstown. As for genre fare, there’s the Sonic the Hedgehog spinoff Knuckles, the recently-canceled Halo show and a remake of Stephen King’s The Stand.

Showtime, on the other hand, is a long-standing cable institution that’s seen as “HBO’s younger sibling.” The platform offers access to hit shows like Yellowjackets, Billions and The Chi. The network also has a stable of older properties, including Dexter, Ray Donovan, Shameless and many more. Finally, it’s the best way to watch Twin Peaks: The Return, which is so dang good.

These deals only last until September 6, at which point the discounts disappear into a puff of smoke. The usual prices for these annual plans are $60 for Essential and $120 for the Showtime bundle. As for monthly subscription costs, they keep going up and up.

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Once upon a time in the tail-end of the last century, there was something called the Y2K bug. This bit of computer code was supposed to herald a global robot apocalypse at the stroke of midnight when 1999 became the year 2000 because of, uh, clock dates or something. Anyways, nothing happened. Or did it?

That’s the premise behind A24’s new horror comedy, the appropriately-named Y2K. The film imagines a New Year’s Eve of 1999 in which the computers really did turn on humanity. It’s written and directed by SNL alum Kyle Mooney, who made the fantastic and underrated Brigsby Bear.

As you can see from the trailer, it’s a 1990s teen party comedy, like Can’t Hardly Wait, but also an apocalyptic horror film. This particular hodgepodge brings to mind This is the End, in which Seth Rogen and other celebrities fight off a demonic horde.

However, instead of a demonic horde, these teens will be fighting for their lives against VCRs, old-school computers and, of course, murderous Tamagotchis. Also, Limp Bizkit’s Fred Durst is somehow involved. The cast is composed primarily of unknown teenagers, but the adults are played by Tim Heidecker, Alicia Silverstone and Mooney himself. The movie hits theaters on December 6.

The next entry in the Pacific Rim franchise could be an origin story for the universe, set before the events of the 2013 film by Guillermo del Toro. According to Variety, the franchise's producer Legendary Entertainment has signed a first-look TV deal with Eric Heisserer. One of the first projects he's developing with Carmen Lewis, his co-founder for his production company called Chronology, is a prequel series for Pacific Rim. Heisserer won several awards for his screenplay for Arrival, the Denis Villeneuve-directed sci-fi movie starring Amy Adams and Jeremy Renner. He also wrote the script for the Netflix post-apocalyptic movie Bird Box, which starred Sandra Bullock. 

It sounds like the project is still in its very early stages, so we'll have to wait for its storyline and projected release date if it does get the green light. Seeing as it's supposed to be the Pacific Rim origin story, though, we may get to see the first kaijus emerging from the interdimensional portal at the bottom of the Pacific Ocean. We may also get to see how the first Jaegers, or the gigantic mechas controlled by human pilots to fight the alien monsters, were designed and created. 

The original Pacific Rim movie was followed by Pacific Rim Uprising, its 2018 sequel film that starred John Boyega and was directed by Steven S. DeKnight. If the series pushes through, it'll follow Pacific Rim: The Black, an anime series that streamed on Netflix in 2021 and 2021, which serves as the continuation of the two films.

In the latest example of a troubling industry pattern, NVIDIA appears to have scraped troves of copyrighted content for AI training. On Monday, 404 Media’s Samantha Cole reported that the $2.4 trillion company asked workers to download videos from YouTube, Netflix and other datasets to develop commercial AI projects. The graphics card maker is among the tech companies appearing to have adopted a “move fast and break things” ethos as they race to establish dominance in this feverish, too-often-shameful AI gold rush.

The training was reportedly to develop models for products like its Omniverse 3D world generator, self-driving car systems and “digital human” efforts.

NVIDIA defended its practice in an email to Engadget. A company spokesperson said its research is “in full compliance with the letter and the spirit of copyright law” while claiming IP laws protect specific expressions “but not facts, ideas, data, or information.” The company equated the practice to a person’s right to “learn facts, ideas, data, or information from another source and use it to make their own expression.” Human, computer… what’s the difference?

YouTube doesn’t appear to agree. Spokesperson Jack Malon pointed us to a Bloomberg story from April, quoting CEO Neal Mohan saying using YouTube to train AI models would be a “clear violation” of its terms. “Our previous comment still stands,” the YouTube policy communications manager wrote to Engadget.

That quote from Mohan in April was in response to reports that OpenAI trained its Sora text-to-video generator on YouTube videos without permission. Last month, a report showed that the startup Runway AI followed suit.

NVIDIA employees who raised ethical and legal concerns about the practice were reportedly told by their managers that it had already been green-lit by the company's highest levels. “This is an executive decision,” Ming-Yu Liu, vice president of research at NVIDIA, replied. “We have an umbrella approval for all of the data.” Others at the company allegedly described its scraping as an “open legal issue” they’d tackle down the road.

It all sounds similar to Facebook’s (Meta’s) old “move fast and break things” motto, which has succeeded admirably at breaking quite a few things. That included the privacy of millions of people.

In addition to the YouTube and Netflix videos, NVIDIA reportedly instructed workers to train on movie trailer database MovieNet, internal libraries of video game footage and Github video datasets WebVid (now taken down after a cease-and-desist) and InternVid-10M. The latter is a dataset containing 10 million YouTube video IDs.

Some of the data NVIDIA allegedly trained on was only marked as eligible for academic (or otherwise non-commercial) use. HD-VG-130M, a library of 130 million YouTube videos, includes a usage license specifying that it’s only meant for academic research. NVIDIA reportedly brushed aside concerns about academic-only terms, insisting their batches were fair game for its commercial AI products.

To evade detection from YouTube, NVIDIA reportedly downloaded content using virtual machines (VMs) with rotating IP addresses to avoid bans. In response to a worker’s suggestion to use a third-party IP address-rotating tool, another NVIDIA employee reportedly wrote, “We are on [Amazon Web Services](#) and restarting a [virtual machine](#) instance gives a new public IP[.](#) So, that’s not a problem so far.”

404 Media’s full report on NVIDIA’s practices is worth a read.

According to Bloomberg and The New York Times, Meta is in talks with the likes of Keegan-Michael Key, Awkwafina and Dame Judi Dench, among others, for its AI projects. The company apparently intends to incorporate their voices into a conversational generative AI-slash-digital assistant called MetaAI, which is rumored to be like Siri and Google Assistant, which could live within Facebook, Meta hardware, and all the other parts of the multimillion-dollar social network company.

The actors’ representatives are still negotiating for stricter limits, though SAG-AFTRA has reportedly agreed on terms with Meta. SAG-AFTRA, if you recall, fought for provisions to protect actors from the threat of job loss due to AI.

Didn’t Meta already do something like this? Yes. During its Connect event last year, the company also introduced a chatbot platform with 28 “characters” voiced by celebrities, including Snoop Dogg, Paris Hilton, Dwyane Wade and Kendall Jenner. However, those celebrity chatbots’ pages have since disappeared, and The Information reports that Meta has just quietly scrapped that project.

This appears to be more central to Meta’s AI ambitions.

— Mat Smith

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Apple has finally started sending out payments from its butterfly keyboard settlement

It agreed to pay $50 million.

Payments relating to a class action lawsuit filed in 2018 over Apple’s butterfly MacBook keyboards have reportedly begun. The settlement website now states that payments for approved claims will go out in August, and claimants will receive checks. For some, it could mean a check of up to $395.

After Apple introduced the butterfly keyboard in 2015, complaints arose over “sticky” and unresponsive keys. A lawsuit filed in 2018 accused Apple of knowing its keyboards had problems and concealing this from consumers. While Apple denied the lawsuit’s allegations of defective keyboards, it agreed to pay $50 million as part of a settlement. It also started phasing out the keyboard design in 2019.

Continue reading.

Instagram scammer faces felony charges after bragging on a podcast

Idriss Qibaa is being charged over death threats in social media extortion.

A guest who appeared on a podcast to boast about a hack-and-payback scheme involving his victims’ social media accounts is now facing the wrath of the FBI. It received a tip about Qibaa’s alleged extortion scheme on April 1, pointing to his appearance on the No Jumper podcast. Qibaa outlined a financial scheme using over 200 victims’ social media accounts, in which he would lock them out of their pages and charge them to regain access. He added he made about $600,000 a month.

Continue reading.

Game Informer magazine is shutting down

After 33 years.

Game Informer

Game Informer announced its parent company, GameStop, is shutting the magazine after 33 years in the business. The entire website and its archives are gone, redirecting to the magazine’s final statement of thanks to its readers. The publication’s content director, Kyle Hilliard, said on X the bad news about the mass staff layoffs landed right when they were in the middle of creating an issue. Game Informer launched in August 1991 with Sonic the Hedgehog sprinting across its cover.

Continue reading.

A future artificial intelligence product by Meta could have you chatting with celebrities. According to Bloomberg and The New York Times, the company is in talks with Awkwafina, Judi Dench and Keegan-Michael Key, among other celebrities from various Hollywood agencies for its AI projects. The company apparently intends to incorporate their voices into a conversational generative AI-slash-digital assistant called MetaAI, which is similar to Siri and Google Assistant. 

Meta plans to record their voices and to secure the right to use them for as many situations as possible across Facebook, Messenger, Instagram, WhatsApp and even the Ray-Ban Meta glasses. Bloomberg says negotiations have started and stopped many times, because both sides can't seem to agree with the terms for use. For now, they seemed to have settled on a time limit, meaning any voice the company records can only be used over a set period. However, the deals with the actors could be renewed or extended by the time their contract is up. 

The actors' representatives are still looking to negotiate for stricter limits, though SAG-AFTRA has reportedly reached an agreement with Meta on terms. SAG-AFTRA, if you'll recall, fought for the establishment of provisions to protect actors from the threat of job loss due to AI when it went on strike last year. Under those terms, a company will have to pay actors and obtain their consent before it can use their AI-generated likeness. If Meta reaches a deal with the actors it's talking to, it could pay them millions of dollars in fees. 

Meta is looking to finalize deals before its Connect conference in September, The Times says, where it's expected to launch a bunch of AI products. During the same event last year, the company also introduced a chatbot platform with 28 "characters" voiced by celebrities, including Snoop Dogg, Paris Hilton, Dwyane Wade and Kendall Jenner. The Information reports that Meta has just quietly scrapped that project, and the celebrity chatbots' pages on Facebook and Instagram are no longer available. 

A future artificial intelligence product by Meta could have you chatting with celebrities. According to Bloomberg and The New York Times, the company is in talks with Awkwafina, Judi Dench and Keegan-Michael Key, among other celebrities from various Hollywood agencies for its AI projects. The company apparently intends to incorporate their voices into a conversational generative AI-slash-digital assistant called MetaAI, which is similar to Siri and Google Assistant. 

Meta plans to record their voices and to secure the right to use them for as many situations as possible across Facebook, Messenger, Instagram, WhatsApp and even the Ray-Ban Meta glasses. Bloomberg says negotiations have started and stopped many times, because both sides can't seem to agree with the terms for use. For now, they seemed to have settled on a time limit, meaning any voice the company records can only be used over a set period. However, the deals with the actors could be renewed or extended by the time their contract is up. 

The actors' representatives are still looking to negotiate for stricter limits, though SAG-AFTRA has reportedly reached an agreement with Meta on terms. SAG-AFTRA, if you'll recall, fought for the establishment of provisions to protect actors from the threat of job loss due to AI when it went on strike last year. Under those terms, a company will have to pay actors and obtain their consent before it can use their AI-generated likeness. If Meta reaches a deal with the actors it's talking to, it could pay them millions of dollars in fees. 

Meta is looking to finalize deals before its Connect conference in September, The Times says, where it's expected to launch a bunch of AI products. During the same event last year, the company also introduced a chatbot platform with 28 "characters" voiced by celebrities, including Snoop Dogg, Paris Hilton, Dwyane Wade and Kendall Jenner. The Information reports that Meta has just quietly scrapped that project, and the celebrity chatbots' pages on Facebook and Instagram are no longer available. 

SiriusXM just announced a standalone podcast subscription service called SiriusXM Podcasts+. The platform will be available via Apple Podcasts starting August 5 and will offer a “premium listening experience” for some of the “biggest shows across the SiriusXM Podcast Network.”

Subscribers will enjoy an ad-free experience, bonus content and early access to new episodes of popular shows. None of the content is exclusive, however, as you’ll still be able to check out these podcasts via numerous other platforms.

At launch, the platform will be home to some of the bigger names in the space. There’s Smartless, the one with Jason Bateman and Will Arnett, and other programs from the same production team. Other included podcasts include Literally! with Rob Lowe, Andy Cohen’s Daddy Diaries Podcast and Last Podcast on the Left. The company says that more programs will join the platform later this year.

Though tied to Apple Podcasts at first, the company says it expects the “subscription will expand to other platforms in the coming weeks.” At launch, it’ll be available in over 60 countries. SiriusXM Podcasts+ will cost $6 per month or $45 per year.

SiriusXM has become a major player in the podcast space, which makes sense given that satellite radio talk shows are basically podcasts by another name. This move could continue that trend.

50 Cent and his millions of social media followers were reportedly the targets of a pump-and-dump crypto scam on Friday that resulted in hackers pocketing a good chunk of change before it was all shut down. The exact amount they made is unclear; the rapper initially wrote on Instagram that “whoever did this made $300,000,000 in 30 minutes” (per Cointelegraph), but the post has since been edited to say $3,000,000 as of this afternoon. I will not make a Get Rich or Die Tryin’ pun, I will not make a Get Rich or Die Tryin’ pun...

The scammers used 50 Cent’s X account and website, Thisis50, to push $GUNIT. “My Twitter & Thisis 50.com was hacked I have no association with this Crypto,” 50 Cent wrote in an Instagram post containing screenshots of the unfolding mess. “Twitter worked quickly to lock my account back down,” he added. His X account and Thisis50.com still appear to be unavailable. Stay safe out there, and be wary of celebrities shilling crypto.

Replacing a talent like the late Kevin Conroy, the man who voiced Batman in fan favorites like Batman: The Animated Series and the Arkham game trilogy, must be a monumental feat. Conroy’s deep, steady voice defined the character for decades — it’s a challenge just to think of a cartoon Batman and not hear Conroy’s voice behind the mic. Sadly, Conroy passed away in 2022 and Batman must carry on without him.

A new series is coming to Amazon Prime starting on August 1 called Batman: Caped Crusader and Vanity Fair revealed that actor Hamish Linklater will provide the voice for Batman/Bruce Wayne on the new noirish animated series. Linklater is best known for roles in movies including The Big Short and Midnight Mass, and shows like the recent Apple+ limited series Manhunt, where he played President Abraham Lincoln.

Batman: Caped Crusader aims to be more of an old-fashioned detective story with the art style of the original 1939 comics. Linklater’s take on the character seems more subdued to match the tone, and it’ll be interesting to see how a Batman show will work in the style of a Mickey Spillane-esque story.

No Batman movie or show is complete without his menagerie of villains. Only three of the voice actors have been revealed so far: Christina Ricci will voice Catwoman/Selina Kyle, Diedrich Bader will voice Two-Face/Harvey Dent and Jamie Chung will play Harley Quinn.

Based on the full cast list, there should be more villains on the roster. The series will also feature the voices of McKenna Grace, Minnie Driver, Gary Anthony Williams, Tom Kenny, John DiMaggio and Michelle C. Bonilla, according to the Internet Movie Database.

Fans of Batman: The Animated Series and Batman: The Brave and the Bold will also be happy to know that some of those shows’ original writers and creators are joining the new Amazon Prime series. Bruce Timm, the artist and co-creator of Batman: The Animated Series, and James Tucker, the producer and one of the writers of Batman: The Brave and the Bold, are the showrunners and executive producers of Batman: Caped Crusader.

Mixtape is a coming-of-age story about the reality-bending adventures of three teenage friends on their final night of high school, featuring a soundtrack of classic punk and alternative hits. It's due to hit Xbox Series X/S, PlayStation 5 and PC in 2025, and it'll be available day-one on Xbox Game Pass.

Mixtape follows three friends on their way to their final high school party, as they relive their glory days to the tunes of a perfectly curated playlist. Their memories appear in dreamlike sequences, featuring songs by Iggy Pop, Siouxsie and the Banshees, Joy Division, DEVO, The Smashing Pumpkins and other old-school hit makers.

The main trio in Mixtape provide plenty of teenage sass in the game's reveal trailer, and its art style feels like something between stop-motion and cel-shaded cinematics. It's a welcoming, stylish world. The Mixtape microsite includes the mantra, "Skate. Party. Avoid the law. Make out. Sneak out. Hang out." Sounds like high school to me.

Mixtape comes from Beethoven & Dinosaur, the studio behind the musical adventure The Artful Escape and fronted by Australian rockstar Johnny Galvatron. It's published by Annapurna Interactive.

Catch up on all of the news from Summer Game Fest 2024 right here!

On Wednesday, the US House of Representatives passed a bill that could provide at least some accountability for Ticketmaster and other live event vendors. NBC News reports the TICKET Act (not to be confused with the Senate’s separate bill with the same try-hard acronym) would mandate that ticket sellers list upfront the total cost of admission — including all fees — to buyers.

In addition to the full pricing breakdown, the bill would require sellers to indicate whether the tickets are currently in their possession. It would also ban deceptive websites from secondary vendors and force sellers to refund tickets to canceled events. The bill doesn’t appear to address price gouging or extravagant fees.

It now moves to the Senate, which is floating two separate event-reform bills: the other TICKET Act and a bipartisan Fans First Act. The latter was introduced in December to strengthen the 2016 BOTS Act that bars the use of bots to buy tickets, a practice that Taylor Swift fans (among others) can attest is still all too common.

Reforming the ticketing industry became a political point-scoring item in late 2022 after Ticketmaster’s Taylor Swift fiasco. The Live Nation-owned service, which has a stronghold on the industry, melted down as millions of fans battled “a staggering number” of bots. Ticketmaster said presale codes reached 1.5 million fans, but 14 million (including those pesky bots) tried to buy tickets.

Live Nation President and CFO Joe Berchtold testified in front of the Senate Judiciary Committee in January 2023, where he largely passed the buck to Congress to fix the mess. He suggested the government strengthen the BOTS Act, which one of the Senate’s bills would try to do. During the hearing, Senator Richard Blumenthal (D-CT) needled the executive for dodging blame, accusing the company of pointing the finger at everyone but itself.

Representatives Gus Bilirakis (R-FL), Jan Schakowsky (D-IL), Cathy McMorris Rodgers (R-WA) and Frank Pallone Jr. (D-NJ) issued a joint statement on Wednesday about the House’s TICKET Act. “This consensus legislation will end deceptive ticketing practices that frustrate consumers who simply want to enjoy a concert, show, or sporting event by restoring fairness and transparency to the ticket marketplace,” the group wrote. “After years of bipartisan work, we will now be able to enhance the customer experience of buying event tickets online. We look forward to continuing to work together to urge quick Senate passage so that we can send it to the President’s desk to be signed into law.”

Artists publicly supporting legislation to combat the ticketing industry’s failures include (among others) Billie Eilish, Lorde, Green Day, Cyndi Lauper, Jason Mraz and Dave Matthews. “We are joining together to say that the current system is broken: predatory resellers and secondary platforms engage in deceptive ticketing practices to inflate ticket prices and deprive fans of the chance to see their favorite artists at a fair price,” a joint letter from over 250 musicians reads.

The rise and fall of MoviePass is one of those stories just begging for the documentary treatment and, well, HBO has got you covered. The platform just set a premiere date of May 29 for MoviePass, MovieCrash, a documentary helmed by filmmaker Muta’Ali and produced by none other than Mark Wahlberg.

The film chronicles the “meteoric rise and stranger-than-fiction implosion” of the movie ticket subscription platform, which originally set the world on fire when it first launched back in 2011. However, it wasn’t long before the company realized that the “all you can eat” approach that works so well with gyms and other membership clubs is a weird fit for movie theaters, particularly at the service’s low price point. In just eight years, the company went from the fastest growing subscription service since Spotify to total bankruptcy.

As the trailer shows, the documentary will feature interviews with many of the major players involved in the various stages of MoviePass. This includes original co-founder Stacy Spikes and former CEO Mitch Lowe. There will also be plenty of interviews with journalists who covered the service, FTC personnel and former subscribers. Incidentally, the trailer promises an anecdote in which a customer sent a box of feces to the MoviePass offices, and we don’t want to miss that.

Though premiering on HBO at 9PM ET on May 29, the documentary will also be available on-demand via Max. Director Muta’Ali has made a few good documentaries, including Yusuf Hawkins: Storm Over Brooklyn and Cassius X: Becoming Ali.

As for MoviePass, well, it’s a long and complicated story. The app captured the hearts of theater-goers in 2011 by promising unlimited trips to the cinema for a single monthly subscription fee. The love affair didn’t last. The company ceased operations in 2019 and filed for bankruptcy in 2020. Between those dates, there have been reports of wire fraud, securities fraud and significant data breaches, among other outlandish scenarios. In short, it’s perfect fodder for a documentary.

MoviePass is actually still around. Co-founder Spikes recently bought the company’s assets, brought on new investors and re-launched the service. However, the updated pricing model is on the confusing side, with credits and tiers, and seems to have not captured lightning in a bottle for the second time.

Fans have been waiting a long, long time for another installment in the 28 Days Later franchise, and we now know when the next followup is coming out: June 20, 2025. Per Variety, Sony Pictures announced the release date for the upcoming film 28 Years Later on Friday. It would have been kind of cool if it were timed with the original film’s actual 28th anniversary in 2030, considering how close we are to that now (horrifying, I know), but I can't blame them for not keeping people hanging even longer.

28 Days Later, starring Cillian Murphy in what turned out to be his breakout role, came out in 2002, and was followed by a sequel with a different cast, 28 Weeks Later, in 2007. There were at one point murmurs of plans for 28 Months Later, but it looks like we’re skipping over that. The new film will be directed by Danny Boyle and written by Alex Garland, who both helmed the first movie, The Hollywood Reporter reported earlier this year. Murphy will be among its executive producers, according to Variety, but don’t get your hopes up for seeing him in a starring role. As of now, it doesn't seem like that’ll be the case.

We don’t know anything about the plot yet, but 28 Years Later will reportedly star Jodie Comer, Aaron Taylor-Johnson and Ralph Fiennes. And it could be the first of three new movies in the franchise. According to THR, the plan is ultimately for a trilogy.

In this installment of What We're Listening To, Engadget writers and editors discuss some of the recent music releases we've had on repeat. It's safe to say there's some variety on this list.

Sierra Ferrell - Trail of Flowers 

Sierra Ferrell seems almost like an anachronism in 2024, but in the best possible way. She has this effortless, old-timey country style that is at points reminiscent of the likes of The Carter Family or Flatt and Scruggs (her brilliant covers of songs once performed by the latter duo are permanently seared into my brain), and it’s just so refreshing. Trail of Flowers, Ferrell’s second studio album, toes a little further into a more modern sound, but it maintains this deeply Americana feel that just seems to roll off the West Virginia-born artist so naturally.

Country music isn’t just one thing, and neither is Trail of Flowers. It meanders through different flavors — folk, bluegrass, hints of jazz — but it manages to do so in a way that feels cohesive when it’s all taken together. The wistful “American Dreaming” and “Wish You Well” are offset by sillier, whimsical numbers like “I Could Drive You Crazy” or the deep cut cover, “Chitlin' Cookin' Time in Cheatham County.” Tracks like “Money Train,” “I’ll Come Off the Mountain” and “Lighthouse” are instantly catchy. “Why Haven’t You Loved Me Yet” and “No Letter” feel like classics in the making.

And then there’s the cheekily sinister, scorned-lover’s lament, “Rosemary.” It’s one of the songs that first got me hooked on Sierra Ferrell years ago, as I imagine is the case for a lot of fans who have followed Ferrell’s career since her busking days or her unforgettable GemsOnVHS performances. I was almost nervous to hear it on Trail of Flowers, with a full production, after loving the raw, stripped-down recording I’ve been replaying on YouTube for so long. But they’ve done a beautiful job of capturing that magic, and “Rosemary” may be my favorite track on the album. It’s hard to pick, though.

Castle Rat - Into the Realm 

Sometime early last year, I discovered something I didn’t realize was missing from my life: medieval fantasy doom metal. I was at a show at the gloriously trippy Brooklyn Made watching an opener ahead of the band I’d gone there to see, and unexpectedly found myself witness to an on-stage choreographed sword fight (well, there was a scythe involved too) between a woman in chainmail and someone wearing a hooded rat mask and lingerie. I’d already been enraptured by the band’s heavy, immersive riffs and the singer’s hypnotic 1970s-esque vocals, but in that moment, yeah, things really clicked into place. This was my introduction to Castle Rat, and it was a damn good one.

I’ve been eagerly awaiting the release of their debut album ever since, and from the second it dropped last month — an LP called Into the Realm — I’ve pretty much been playing it on a nonstop loop. It would actually be embarrassing if you were to check the number of times I’ve listened to the album’s standout ballad, “Cry For Me.” It is a haunting, emotional song that really takes you on a journey and I’m a little obsessed with it. Into the Realm opens strong with the boppy “Dagger Dragger,” and some real heavy-hitters follow in tracks like “Feed the Dream,” “Fresh Fur” and “Nightblood.” “Red Sands” is a slow-building powerhouse, and I’ve even found myself loving the three roughly minute-long instrumental interludes that tie the whole album together.

Doom bands love a good theme (as do I), and we tend to see a lot of weed, witchcraft, science fiction and fantasy pop up throughout the subgenres that fall under this umbrella. Castle Rat definitely isn’t the first to have a shtick, but there’s a certain freshness to the band’s even more specific, self-described medieval fantasy brand, perhaps because they commit to it so hard. Their ‘70s and ‘80s influences are obvious, yet everything they’ve put out so far still feels original. Some people might find the whole thing gimmicky, but I think it’s working. Especially since they have the chops to back it up. I’m excited to see where Castle Rat goes from here.

Honorable Mentions:

Girl with No Face, Allie X— Another song I’ve been listening to an embarrassing amount these days is Weird World, off Allie X’s latest album, Girl with No Face. I somehow haven’t tired myself of it yet, it makes me go absolutely feral. Girl with No Face is full of synth-pop gems, like “Off With Her Tits” — a dancey, angsty anthem sure to resonate with anyone who has experienced dysphoria around their body image — “John and Johnathan,” “Black Eye” and “Staying Power.”

Club Shy, Shygirl — This is just a collection of straight-up bangers. It’s not even 16 minutes long, but it really hits. If you need an instant mood-elevator ahead of a night out, this album is it.

Stampede: Volume 1, Orville Peck — Orville Peck’s first release in his fringeless era is a duets album, the first part of which was released on Friday and features artists including Willie Nelson, Noah Cyrus and Elton John. I haven’t had much time to spend with Stampede: Volume 1 yet, but I’m into it so far. “Conquer the Heart” ft. Nathaniel Rateliff and “How Far Will We Take It?” with Noah Cyrus feel like they combine the best elements of Pony (2019) and Bronco (2022). Bronco came in two waves, so I expect we’ll see a Volume 2 for Stampede before long, too.

— Cheyenne MacDonald, Weekend Editor

Hannah Jadagu - Aperture

Whenever I hear the words “banger” or “bop,” I don’t think about artists like Taylor Swift. I think about the nebulous musical genre known as bedroom pop. Bop, after all, is right there in the name. Hannah Jadagu is a bedroom pop wizard of the highest order. Her first EP was made entirely on an old iPhone and still slaps, though she has since graduated to real recording studios. Jadagu’s latest full-length on Sub Pop, Aperture, is filled with both bangers and bops, and my favorite is the lovelorn “Say It Now.” Listen to this thing. It just may be the perfect pop song and is absolutely crying out for some road trip singalongs. The shoegaze-adjacent “What You Did” is another classic and would be at home on any decent summer playlist.

— Lawrence Bonk, Contributing Reporter

Justice - Hyperdrama

Justice’s first full-length release Cross from 2007 is one of my favorite albums of all time. Not only did it define the crunchy electronic sound of the blog house era in the late 2000s and early 2010s, it also felt like a new French duo had picked up where Daft Punk left off following 2005’s Human After All. Now Justice is back with its fourth album in Hyperdrama. But instead of being inspired by a specific genre of music like we heard in Audio, Video, Disco’s stadium rock tracks or Woman’s disco-fueled beats, this album feels more like the soundtrack to a moody sci-fi thriller, almost as if this is Justice’s alternate reality take on the Tron: Legacy soundtrack.

“Generator” is a certified banger and probably the song that sounds the most like classic Justice. “Neverender” and “One Night/All Night” are also highlights, though I think Justice may have leaned a bit too heavily on Tame Impala to give this album personality. “Dear Alan” delivers super smooth vibes and Thundercat makes a delightful appearance and finishes things strong in “The End.” 

The one thing I really miss is at least one truly danceable track like we got on all of the band’s previous albums. I also have to admit that some of the songs in the middle blend together in a less-than-memorable way. So while Hyperdrama isn’t the top-to-bottom masterpiece that Cross was a decade and a half ago, more Justice isn’t a bad thing.

— Sam Rutherford, Senior Reporter

Utada Hikaru - Science Fiction

Over the past few weeks, I've mostly been listening to songs from Science Fiction, the first greatest hits album by J-Pop artist Utada Hikaru. I've been a fan since they released their debut album First Love back in 1999, when people were far more likely to be weirded out by the fact that yes, you can enjoy music with lyrics in a language you don't understand. Utada has been in and out of the J-Pop scene since then, and there were long stretches of time when I wouldn't hear anything about them. Every new music drop is a gift, especially this album, since it's tied to an upcoming concert tour, which they only do once in a blue moon.

Utada experienced a resurgence in 2022 when their songs “First Love” and “Hatsukoi” — which also translates to “first love” — were featured in a hit Japanese drama series on Netflix called (you guessed it) First Love. Those tracks are, of course, in Science Fiction, which also includes songs from various points in Utada's career. 

The album will take you on a journey from when they mostly wrote R&B-inspired pop to an era when their music became more experimental, and it will introduce you to their current sound, which is both mainstream and unique. While some of the re-recorded versions of their older songs like “Traveling” don't quite hit the mark, it's still a good representation of who Utada is as a musician. As a long-time fan, though, this album isn't just a collection of songs to me, but a collection of memories from different stages of my life.

— Mariella Moon, Contributing Reporter

Caroline Polachek - “Starburned and Unkissed”

There are a few reasons that “Starburned and Unkissed” stands out against the I Saw the TV Glow soundtrack, which is replete with not only beloved mainstays like Broken Social Scene's “Anthems For A Seventeen-Year Old Girl” as well as other original songs from luminaries like Phoebe Bridgers and Hop Along's Frances Quinlan. If cornered, I would say the most brilliant thing about “Starburned and Unkissed,” its greatest strength, is that it's just a little too slow. 

Every note stretches and yearns with the impatience of adolescence, verges on running out of air, of snapping in two. Much like the scene of the utterly and equally brilliant I Saw the TV Glow it was written for, it captures the sleepy anxiety of a too-warm high school, overcrowded and isolating. The heaviness of its crushing guitars ebbs and flows unsteadily, mimicking the experimentation of callow hands. (It takes the second try on the chorus for the drums and guitars to all come in on cue.) 

It's unstable, hopeful. Caroline's voice — gently mangled by intentional autotune pitch shifts — falls out of key in the song's last few refrains, threatening to derail the dreamy beauty of the past three minutes. It ends abruptly, begging for another listen, another return to a time that can't be recaptured.

Honorable mentions:

“Lover's Spit Plays in the Background,” Claire Rousay — Rousay's sentiment is a perfect album for reading outside on an overcast day. I'm not sure I can pick a standout track, as the experience is really in letting the whole thing wash over you, but this one's close enough.

“Stickers of Brian,” Hot Mulligan — Classic pop punk subject matter (“my job sucks and I hate everyone”) but my god what an earworm.

“On Brand,” Ekko Astral — Levels of snottiness previously considered unachievable. Hard not to love what a beautiful mess these folks make.

“Cometh the Storm,” High on Fire — Most of High on Fire's 20+ years of output sounds like — and lyrically is probably about — an axe-wielding barbarian ripping a bong, or whatever other D&D nonsense they're up to. (I say this lovingly. I adore High on Fire.) The title track off the new one is… unusually dirge-like? At first it felt very “old band showing their age” but it's grown on me as an intentional and welcome change. They're not off the hook for using AI for the “Burning Down” music video though. C'mon guys.

— Avery Ellis, Deputy Editor, Reports

Peter Jackson’s Lord of the Rings film trilogy came out right around the time movie studios decided everything needed to be a big franchise that exists in perpetuity. From that perspective, it’s a little surprising that Warner Bros. Discovery hasn’t milked Tolkien’s work more than they already have. That’ll change soon, though, as the company just announced that there are two new Lord of the Rings films in the works (you can read the full press release here).

The first is tentatively titled Lord of the Rings: The Hunt for Gollum, and it’s being directed by Andy Serkis — you may remember him for his landmark performance as Gollum in Jackson’s prior movies. The fact that Serkis is on board, and working from a script by Fran Walsh and Philippa Boyens (who co-wrote the prior Middle-earth movies along with Jackson) has me feeling a bit better about this not being simply a crass cash grab. Peter Jackson, along with Walsh and Boyens, are set to produce as well. Serkis previously served as second unit director on The Hobbit films and also directed 2022’s Venom: Let There Be Carnage.

Given the working title of the film, you won’t be surprised to learn that Serkis is also starring again as the titular Gollum. While part of me was interested to see how another actor might take on the character, Serkis so defined Gollum for the big screen that it’s almost impossible to put anyone else in the role. As for what the movie will cover, there’s no official word yet — but again, the title indicates it’ll take place between the events of The Hobbit and Lord of the Rings as Gandalf and Aragorn search Middle-earth for Gollum, trying to learn more about the ring that Bilbo and then Frodo possessed. 

Given Hollywood’s insatiable thirst for Content based on Popular Franchises, it’s a little surprising something like this didn’t happen sooner. Jackson and company followed up the original trilogy of films nine years later with the bloated and overly CGI-reliant film series based on The Hobbit and corresponding events from Tolkien’s LOTR appendices. And, of course, Amazon’s The Lord of the Rings: The Rings of Power series debuted in 2022. And before The Hunt for Gollum arrives, we’ll see another intriguing project: an anime-style film called The War of the Rohirrim. That movie arrives this December and covers events in Rohan a few hundred years before The Lord of the Rings.

As a massive Lord of the Rings fan, I’m both skeptical and excited by this announcement. The sad reality of the entertainment world is that projects like this are going to happen no matter what; there’s too much money wrapped up in things like Lord of the Rings to not try and extract more. But Serkis seems like an excellent choice to direct this movie, and hopefully they’ll find a tight, self-contained story that works as a standalone film. The mess that was made in the Hobbit films has me wary, but even in those movies I found plenty of things to enjoy — and this feels like a good opportunity to chart a positive course forward for more movies in Middle-earth.

Fans have been waiting a long, long time for another installment in the 28 Days Later franchise, and we now know when the next followup is coming out: June 20, 2025. Per Variety, Sony Pictures announced the release date for the upcoming film 28 Years Later on Friday. It would have been kind of cool if it were timed with the original film’s actual 28th anniversary in 2030, considering how close we are to that now (horrifying, I know), but I can't blame them for not keeping people hanging even longer.

28 Days Later, starring Cillian Murphy in what turned out to be his breakout role, came out in 2002, and was followed by a sequel with a different cast, 28 Weeks Later, in 2007. There were at one point murmurs of plans for 28 Months Later, but it looks like we’re skipping over that. The new film will be directed by Danny Boyle and written by Alex Garland, who both helmed the first movie, The Hollywood Reporter reported earlier this year. Murphy will be among its executive producers, according to Variety, but don’t get your hopes up for seeing him in a starring role. As of now, it doesn't seem like that’ll be the case.

We don’t know anything about the plot yet, but 28 Years Later will reportedly star Jodie Comer, Aaron Taylor-Johnson and Ralph Fiennes. And it could be the first of three new movies in the franchise. According to THR, the plan is ultimately for a trilogy.

In this installment of What We're Listening To, Engadget writers and editors discuss some of the recent music releases we've had on repeat. It's safe to say there's some variety on this list.

Sierra Ferrell - Trail of Flowers 

Sierra Ferrell seems almost like an anachronism in 2024, but in the best possible way. She has this effortless, old-timey country style that is at points reminiscent of the likes of The Carter Family or Flatt and Scruggs (her brilliant covers of songs once performed by the latter duo are permanently seared into my brain), and it’s just so refreshing. Trail of Flowers, Ferrell’s second studio album, toes a little further into a more modern sound, but it maintains this deeply Americana feel that just seems to roll off the West Virginia-born artist so naturally.

Country music isn’t just one thing, and neither is Trail of Flowers. It meanders through different flavors — folk, bluegrass, hints of jazz — but it manages to do so in a way that feels cohesive when it’s all taken together. The wistful “American Dreaming” and “Wish You Well” are offset by sillier, whimsical numbers like “I Could Drive You Crazy” or the deep cut cover, “Chitlin' Cookin' Time in Cheatham County.” Tracks like “Money Train,” “I’ll Come Off the Mountain” and “Lighthouse” are instantly catchy. “Why Haven’t You Loved Me Yet” and “No Letter” feel like classics in the making.

And then there’s the cheekily sinister, scorned-lover’s lament, “Rosemary.” It’s one of the songs that first got me hooked on Sierra Ferrell years ago, as I imagine is the case for a lot of fans who have followed Ferrell’s career since her busking days or her unforgettable GemsOnVHS performances. I was almost nervous to hear it on Trail of Flowers, with a full production, after loving the raw, stripped-down recording I’ve been replaying on YouTube for so long. But they’ve done a beautiful job of capturing that magic, and “Rosemary” may be my favorite track on the album. It’s hard to pick, though.

Castle Rat - Into the Realm 

Sometime early last year, I discovered something I didn’t realize was missing from my life: medieval fantasy doom metal. I was at a show at the gloriously trippy Brooklyn Made watching an opener ahead of the band I’d gone there to see, and unexpectedly found myself witness to an on-stage choreographed sword fight (well, there was a scythe involved too) between a woman in chainmail and someone wearing a hooded rat mask and lingerie. I’d already been enraptured by the band’s heavy, immersive riffs and the singer’s hypnotic 1970s-esque vocals, but in that moment, yeah, things really clicked into place. This was my introduction to Castle Rat, and it was a damn good one.

I’ve been eagerly awaiting the release of their debut album ever since, and from the second it dropped last month — an LP called Into the Realm — I’ve pretty much been playing it on a nonstop loop. It would actually be embarrassing if you were to check the number of times I’ve listened to the album’s standout ballad, “Cry For Me.” It is a haunting, emotional song that really takes you on a journey and I’m a little obsessed with it. Into the Realm opens strong with the boppy “Dagger Dragger,” and some real heavy-hitters follow in tracks like “Feed the Dream,” “Fresh Fur” and “Nightblood.” “Red Sands” is a slow-building powerhouse, and I’ve even found myself loving the three roughly minute-long instrumental interludes that tie the whole album together.

Doom bands love a good theme (as do I), and we tend to see a lot of weed, witchcraft, science fiction and fantasy pop up throughout the subgenres that fall under this umbrella. Castle Rat definitely isn’t the first to have a shtick, but there’s a certain freshness to the band’s even more specific, self-described medieval fantasy brand, perhaps because they commit to it so hard. Their ‘70s and ‘80s influences are obvious, yet everything they’ve put out so far still feels original. Some people might find the whole thing gimmicky, but I think it’s working. Especially since they have the chops to back it up. I’m excited to see where Castle Rat goes from here.

Honorable Mentions:

Girl with No Face, Allie X— Another song I’ve been listening to an embarrassing amount these days is Weird World, off Allie X’s latest album, Girl with No Face. I somehow haven’t tired myself of it yet, it makes me go absolutely feral. Girl with No Face is full of synth-pop gems, like “Off With Her Tits” — a dancey, angsty anthem sure to resonate with anyone who has experienced dysphoria around their body image — “John and Johnathan,” “Black Eye” and “Staying Power.”

Club Shy, Shygirl — This is just a collection of straight-up bangers. It’s not even 16 minutes long, but it really hits. If you need an instant mood-elevator ahead of a night out, this album is it.

Stampede: Volume 1, Orville Peck — Orville Peck’s first release in his fringeless era is a duets album, the first part of which was released on Friday and features artists including Willie Nelson, Noah Cyrus and Elton John. I haven’t had much time to spend with Stampede: Volume 1 yet, but I’m into it so far. “Conquer the Heart” ft. Nathaniel Rateliff and “How Far Will We Take It?” with Noah Cyrus feel like they combine the best elements of Pony (2019) and Bronco (2022). Bronco came in two waves, so I expect we’ll see a Volume 2 for Stampede before long, too.

— Cheyenne MacDonald, Weekend Editor

Hannah Jadagu - Aperture

Whenever I hear the words “banger” or “bop,” I don’t think about artists like Taylor Swift. I think about the nebulous musical genre known as bedroom pop. Bop, after all, is right there in the name. Hannah Jadagu is a bedroom pop wizard of the highest order. Her first EP was made entirely on an old iPhone and still slaps, though she has since graduated to real recording studios. Jadagu’s latest full-length on Sub Pop, Aperture, is filled with both bangers and bops, and my favorite is the lovelorn “Say It Now.” Listen to this thing. It just may be the perfect pop song and is absolutely crying out for some road trip singalongs. The shoegaze-adjacent “What You Did” is another classic and would be at home on any decent summer playlist.

— Lawrence Bonk, Contributing Reporter

Justice - Hyperdrama

Justice’s first full-length release Cross from 2007 is one of my favorite albums of all time. Not only did it define the crunchy electronic sound of the blog house era in the late 2000s and early 2010s, it also felt like a new French duo had picked up where Daft Punk left off following 2005’s Human After All. Now Justice is back with its fourth album in Hyperdrama. But instead of being inspired by a specific genre of music like we heard in Audio, Video, Disco’s stadium rock tracks or Woman’s disco-fueled beats, this album feels more like the soundtrack to a moody sci-fi thriller, almost as if this is Justice’s alternate reality take on the Tron: Legacy soundtrack.

“Generator” is a certified banger and probably the song that sounds the most like classic Justice. “Neverender” and “One Night/All Night” are also highlights, though I think Justice may have leaned a bit too heavily on Tame Impala to give this album personality. “Dear Alan” delivers super smooth vibes and Thundercat makes a delightful appearance and finishes things strong in “The End.” 

The one thing I really miss is at least one truly danceable track like we got on all of the band’s previous albums. I also have to admit that some of the songs in the middle blend together in a less-than-memorable way. So while Hyperdrama isn’t the top-to-bottom masterpiece that Cross was a decade and a half ago, more Justice isn’t a bad thing.

— Sam Rutherford, Senior Reporter

Utada Hikaru - Science Fiction

Over the past few weeks, I've mostly been listening to songs from Science Fiction, the first greatest hits album by J-Pop artist Utada Hikaru. I've been a fan since they released their debut album First Love back in 1999, when people were far more likely to be weirded out by the fact that yes, you can enjoy music with lyrics in a language you don't understand. Utada has been in and out of the J-Pop scene since then, and there were long stretches of time when I wouldn't hear anything about them. Every new music drop is a gift, especially this album, since it's tied to an upcoming concert tour, which they only do once in a blue moon.

Utada experienced a resurgence in 2022 when their songs “First Love” and “Hatsukoi” — which also translates to “first love” — were featured in a hit Japanese drama series on Netflix called (you guessed it) First Love. Those tracks are, of course, in Science Fiction, which also includes songs from various points in Utada's career. 

The album will take you on a journey from when they mostly wrote R&B-inspired pop to an era when their music became more experimental, and it will introduce you to their current sound, which is both mainstream and unique. While some of the re-recorded versions of their older songs like “Traveling” don't quite hit the mark, it's still a good representation of who Utada is as a musician. As a long-time fan, though, this album isn't just a collection of songs to me, but a collection of memories from different stages of my life.

— Mariella Moon, Contributing Reporter

Caroline Polachek - “Starburned and Unkissed”

There are a few reasons that “Starburned and Unkissed” stands out against the I Saw the TV Glow soundtrack, which is replete with not only beloved mainstays like Broken Social Scene's “Anthems For A Seventeen-Year Old Girl” as well as other original songs from luminaries like Phoebe Bridgers and Hop Along's Frances Quinlan. If cornered, I would say the most brilliant thing about “Starburned and Unkissed,” its greatest strength, is that it's just a little too slow. 

Every note stretches and yearns with the impatience of adolescence, verges on running out of air, of snapping in two. Much like the scene of the utterly and equally brilliant I Saw the TV Glow it was written for, it captures the sleepy anxiety of a too-warm high school, overcrowded and isolating. The heaviness of its crushing guitars ebbs and flows unsteadily, mimicking the experimentation of callow hands. (It takes the second try on the chorus for the drums and guitars to all come in on cue.) 

It's unstable, hopeful. Caroline's voice — gently mangled by intentional autotune pitch shifts — falls out of key in the song's last few refrains, threatening to derail the dreamy beauty of the past three minutes. It ends abruptly, begging for another listen, another return to a time that can't be recaptured.

Honorable mentions:

“Lover's Spit Plays in the Background,” Claire Rousay — Rousay's sentiment is a perfect album for reading outside on an overcast day. I'm not sure I can pick a standout track, as the experience is really in letting the whole thing wash over you, but this one's close enough.

“Stickers of Brian,” Hot Mulligan — Classic pop punk subject matter (“my job sucks and I hate everyone”) but my god what an earworm.

“On Brand,” Ekko Astral — Levels of snottiness previously considered unachievable. Hard not to love what a beautiful mess these folks make.

“Cometh the Storm,” High on Fire — Most of High on Fire's 20+ years of output sounds like — and lyrically is probably about — an axe-wielding barbarian ripping a bong, or whatever other D&D nonsense they're up to. (I say this lovingly. I adore High on Fire.) The title track off the new one is… unusually dirge-like? At first it felt very “old band showing their age” but it's grown on me as an intentional and welcome change. They're not off the hook for using AI for the “Burning Down” music video though. C'mon guys.

— Avery Ellis, Deputy Editor, Reports

Peter Jackson’s Lord of the Rings film trilogy came out right around the time movie studios decided everything needed to be a big franchise that exists in perpetuity. From that perspective, it’s a little surprising that Warner Bros. Discovery hasn’t milked Tolkien’s work more than they already have. That’ll change soon, though, as the company just announced that there are two new Lord of the Rings films in the works (you can read the full press release here).

The first is tentatively titled Lord of the Rings: The Hunt for Gollum, and it’s being directed by Andy Serkis — you may remember him for his landmark performance as Gollum in Jackson’s prior movies. The fact that Serkis is on board, and working from a script by Fran Walsh and Philippa Boyens (who co-wrote the prior Middle-earth movies along with Jackson) has me feeling a bit better about this not being simply a crass cash grab. Peter Jackson, along with Walsh and Boyens, are set to produce as well. Serkis previously served as second unit director on The Hobbit films and also directed 2022’s Venom: Let There Be Carnage.

Given the working title of the film, you won’t be surprised to learn that Serkis is also starring again as the titular Gollum. While part of me was interested to see how another actor might take on the character, Serkis so defined Gollum for the big screen that it’s almost impossible to put anyone else in the role. As for what the movie will cover, there’s no official word yet — but again, the title indicates it’ll take place between the events of The Hobbit and Lord of the Rings as Gandalf and Aragorn search Middle-earth for Gollum, trying to learn more about the ring that Bilbo and then Frodo possessed. 

Given Hollywood’s insatiable thirst for Content based on Popular Franchises, it’s a little surprising something like this didn’t happen sooner. Jackson and company followed up the original trilogy of films nine years later with the bloated and overly CGI-reliant film series based on The Hobbit and corresponding events from Tolkien’s LOTR appendices. And, of course, Amazon’s The Lord of the Rings: The Rings of Power series debuted in 2022. And before The Hunt for Gollum arrives, we’ll see another intriguing project: an anime-style film called The War of the Rohirrim. That movie arrives this December and covers events in Rohan a few hundred years before The Lord of the Rings.

As a massive Lord of the Rings fan, I’m both skeptical and excited by this announcement. The sad reality of the entertainment world is that projects like this are going to happen no matter what; there’s too much money wrapped up in things like Lord of the Rings to not try and extract more. But Serkis seems like an excellent choice to direct this movie, and hopefully they’ll find a tight, self-contained story that works as a standalone film. The mess that was made in the Hobbit films has me wary, but even in those movies I found plenty of things to enjoy — and this feels like a good opportunity to chart a positive course forward for more movies in Middle-earth.

In this installment of What We're Listening To, Engadget writers and editors discuss some of the recent music releases we've had on repeat. It's safe to say there's some variety on this list.

Sierra Ferrell - Trail of Flowers 

Sierra Ferrell seems almost like an anachronism in 2024, but in the best possible way. She has this effortless, old-timey country style that is at points reminiscent of the likes of The Carter Family or Flatt and Scruggs (her brilliant covers of songs once performed by the latter duo are permanently seared into my brain), and it’s just so refreshing. Trail of Flowers, Ferrell’s second studio album, toes a little further into a more modern sound, but it maintains this deeply Americana feel that just seems to roll off the West Virginia-born artist so naturally.

Country music isn’t just one thing, and neither is Trail of Flowers. It meanders through different flavors — folk, bluegrass, hints of jazz — but it manages to do so in a way that feels cohesive when it’s all taken together. The wistful “American Dreaming” and “Wish You Well” are offset by sillier, whimsical numbers like “I Could Drive You Crazy” or the deep cut cover, “Chitlin' Cookin' Time in Cheatham County.” Tracks like “Money Train,” “I’ll Come Off the Mountain” and “Lighthouse” are instantly catchy. “Why Haven’t You Loved Me Yet” and “No Letter” feel like classics in the making.

And then there’s the cheekily sinister, scorned-lover’s lament, “Rosemary.” It’s one of the songs that first got me hooked on Sierra Ferrell years ago, as I imagine is the case for a lot of fans who have followed Ferrell’s career since her busking days or her unforgettable GemsOnVHS performances. I was almost nervous to hear it on Trail of Flowers, with a full production, after loving the raw, stripped-down recording I’ve been replaying on YouTube for so long. But they’ve done a beautiful job of capturing that magic, and “Rosemary” may be my favorite track on the album. It’s hard to pick, though.

Castle Rat - Into the Realm 

Sometime early last year, I discovered something I didn’t realize was missing from my life: medieval fantasy doom metal. I was at a show at the gloriously trippy Brooklyn Made watching an opener ahead of the band I’d gone there to see, and unexpectedly found myself witness to an on-stage choreographed sword fight (well, there was a scythe involved too) between a woman in chainmail and someone wearing a hooded rat mask and lingerie. I’d already been enraptured by the band’s heavy, immersive riffs and the singer’s hypnotic 1970s-esque vocals, but in that moment, yeah, things really clicked into place. This was my introduction to Castle Rat, and it was a damn good one.

I’ve been eagerly awaiting the release of their debut album ever since, and from the second it dropped last month — an LP called Into the Realm — I’ve pretty much been playing it on a nonstop loop. It would actually be embarrassing if you were to check the number of times I’ve listened to the album’s standout ballad, “Cry For Me.” It is a haunting, emotional song that really takes you on a journey and I’m a little obsessed with it. Into the Realm opens strong with the boppy “Dagger Dragger,” and some real heavy-hitters follow in tracks like “Feed the Dream,” “Fresh Fur” and “Nightblood.” “Red Sands” is a slow-building powerhouse, and I’ve even found myself loving the three roughly minute-long instrumental interludes that tie the whole album together.

Doom bands love a good theme (as do I), and we tend to see a lot of weed, witchcraft, science fiction and fantasy pop up throughout the subgenres that fall under this umbrella. Castle Rat definitely isn’t the first to have a shtick, but there’s a certain freshness to the band’s even more specific, self-described medieval fantasy brand, perhaps because they commit to it so hard. Their ‘70s and ‘80s influences are obvious, yet everything they’ve put out so far still feels original. Some people might find the whole thing gimmicky, but I think it’s working. Especially since they have the chops to back it up. I’m excited to see where Castle Rat goes from here.

Honorable Mentions:

Girl with No Face, Allie X— Another song I’ve been listening to an embarrassing amount these days is Weird World, off Allie X’s latest album, Girl with No Face. I somehow haven’t tired myself of it yet, it makes me go absolutely feral. Girl with No Face is full of synth-pop gems, like “Off With Her Tits” — a dancey, angsty anthem sure to resonate with anyone who has experienced dysphoria around their body image — “John and Johnathan,” “Black Eye” and “Staying Power.”

Club Shy, Shygirl — This is just a collection of straight-up bangers. It’s not even 16 minutes long, but it really hits. If you need an instant mood-elevator ahead of a night out, this album is it.

Stampede: Volume 1, Orville Peck — Orville Peck’s first release in his fringeless era is a duets album, the first part of which was released on Friday and features artists including Willie Nelson, Noah Cyrus and Elton John. I haven’t had much time to spend with Stampede: Volume 1 yet, but I’m into it so far. “Conquer the Heart” ft. Nathaniel Rateliff and “How Far Will We Take It?” with Noah Cyrus feel like they combine the best elements of Pony (2019) and Bronco (2022). Bronco came in two waves, so I expect we’ll see a Volume 2 for Stampede before long, too.

— Cheyenne MacDonald, Weekend Editor

Hannah Jadagu - Aperture

Whenever I hear the words “banger” or “bop,” I don’t think about artists like Taylor Swift. I think about the nebulous musical genre known as bedroom pop. Bop, after all, is right there in the name. Hannah Jadagu is a bedroom pop wizard of the highest order. Her first EP was made entirely on an old iPhone and still slaps, though she has since graduated to real recording studios. Jadagu’s latest full-length on Sub Pop, Aperture, is filled with both bangers and bops, and my favorite is the lovelorn “Say It Now.” Listen to this thing. It just may be the perfect pop song and is absolutely crying out for some road trip singalongs. The shoegaze-adjacent “What You Did” is another classic and would be at home on any decent summer playlist.

— Lawrence Bonk, Contributing Reporter

Justice - Hyperdrama

Justice’s first full-length release Cross from 2007 is one of my favorite albums of all time. Not only did it define the crunchy electronic sound of the blog house era in the late 2000s and early 2010s, it also felt like a new French duo had picked up where Daft Punk left off following 2005’s Human After All. Now Justice is back with its fourth album in Hyperdrama. But instead of being inspired by a specific genre of music like we heard in Audio, Video, Disco’s stadium rock tracks or Woman’s disco-fueled beats, this album feels more like the soundtrack to a moody sci-fi thriller, almost as if this is Justice’s alternate reality take on the Tron: Legacy soundtrack.

“Generator” is a certified banger and probably the song that sounds the most like classic Justice. “Neverender” and “One Night/All Night” are also highlights, though I think Justice may have leaned a bit too heavily on Tame Impala to give this album personality. “Dear Alan” delivers super smooth vibes and Thundercat makes a delightful appearance and finishes things strong in “The End.” 

The one thing I really miss is at least one truly danceable track like we got on all of the band’s previous albums. I also have to admit that some of the songs in the middle blend together in a less-than-memorable way. So while Hyperdrama isn’t the top-to-bottom masterpiece that Cross was a decade and a half ago, more Justice isn’t a bad thing.

— Sam Rutherford, Senior Reporter

Utada Hikaru - Science Fiction

Over the past few weeks, I've mostly been listening to songs from Science Fiction, the first greatest hits album by J-Pop artist Utada Hikaru. I've been a fan since they released their debut album First Love back in 1999, when people were far more likely to be weirded out by the fact that yes, you can enjoy music with lyrics in a language you don't understand. Utada has been in and out of the J-Pop scene since then, and there were long stretches of time when I wouldn't hear anything about them. Every new music drop is a gift, especially this album, since it's tied to an upcoming concert tour, which they only do once in a blue moon.

Utada experienced a resurgence in 2022 when their songs “First Love” and “Hatsukoi” — which also translates to “first love” — were featured in a hit Japanese drama series on Netflix called (you guessed it) First Love. Those tracks are, of course, in Science Fiction, which also includes songs from various points in Utada's career. 

The album will take you on a journey from when they mostly wrote R&B-inspired pop to an era when their music became more experimental, and it will introduce you to their current sound, which is both mainstream and unique. While some of the re-recorded versions of their older songs like “Traveling” don't quite hit the mark, it's still a good representation of who Utada is as a musician. As a long-time fan, though, this album isn't just a collection of songs to me, but a collection of memories from different stages of my life.

— Mariella Moon, Contributing Reporter

Caroline Polachek - “Starburned and Unkissed”

There are a few reasons that “Starburned and Unkissed” stands out against the I Saw the TV Glow soundtrack, which is replete with not only beloved mainstays like Broken Social Scene's “Anthems For A Seventeen-Year Old Girl” as well as other original songs from luminaries like Phoebe Bridgers and Hop Along's Frances Quinlan. If cornered, I would say the most brilliant thing about “Starburned and Unkissed,” its greatest strength, is that it's just a little too slow. 

Every note stretches and yearns with the impatience of adolescence, verges on running out of air, of snapping in two. Much like the scene of the utterly and equally brilliant I Saw the TV Glow it was written for, it captures the sleepy anxiety of a too-warm high school, overcrowded and isolating. The heaviness of its crushing guitars ebbs and flows unsteadily, mimicking the experimentation of callow hands. (It takes the second try on the chorus for the drums and guitars to all come in on cue.) 

It's unstable, hopeful. Caroline's voice — gently mangled by intentional autotune pitch shifts — falls out of key in the song's last few refrains, threatening to derail the dreamy beauty of the past three minutes. It ends abruptly, begging for another listen, another return to a time that can't be recaptured.

Honorable mentions:

“Lover's Spit Plays in the Background,” Claire Rousay — Rousay's sentiment is a perfect album for reading outside on an overcast day. I'm not sure I can pick a standout track, as the experience is really in letting the whole thing wash over you, but this one's close enough.

“Stickers of Brian,” Hot Mulligan — Classic pop punk subject matter (“my job sucks and I hate everyone”) but my god what an earworm.

“On Brand,” Ekko Astral — Levels of snottiness previously considered unachievable. Hard not to love what a beautiful mess these folks make.

“Cometh the Storm,” High on Fire — Most of High on Fire's 20+ years of output sounds like — and lyrically is probably about — an axe-wielding barbarian ripping a bong, or whatever other D&D nonsense they're up to. (I say this lovingly. I adore High on Fire.) The title track off the new one is… unusually dirge-like? At first it felt very “old band showing their age” but it's grown on me as an intentional and welcome change. They're not off the hook for using AI for the “Burning Down” music video though. C'mon guys.

— Avery Ellis, Deputy Editor, Reports

Peter Jackson’s Lord of the Rings film trilogy came out right around the time movie studios decided everything needed to be a big franchise that exists in perpetuity. From that perspective, it’s a little surprising that Warner Bros. Discovery hasn’t milked Tolkien’s work more than they already have. That’ll change soon, though, as the company just announced that there are two new Lord of the Rings films in the works (you can read the full press release here).

The first is tentatively titled Lord of the Rings: The Hunt for Gollum, and it’s being directed by Andy Serkis — you may remember him for his landmark performance as Gollum in Jackson’s prior movies. The fact that Serkis is on board, and working from a script by Fran Walsh and Philippa Boyens (who co-wrote the prior Middle-earth movies along with Jackson) has me feeling a bit better about this not being simply a crass cash grab. Peter Jackson, along with Walsh and Boyens, are set to produce as well. Serkis previously served as second unit director on The Hobbit films and also directed 2022’s Venom: Let There Be Carnage.

Given the working title of the film, you won’t be surprised to learn that Serkis is also starring again as the titular Gollum. While part of me was interested to see how another actor might take on the character, Serkis so defined Gollum for the big screen that it’s almost impossible to put anyone else in the role. As for what the movie will cover, there’s no official word yet — but again, the title indicates it’ll take place between the events of The Hobbit and Lord of the Rings as Gandalf and Aragorn search Middle-earth for Gollum, trying to learn more about the ring that Bilbo and then Frodo possessed. 

Given Hollywood’s insatiable thirst for Content based on Popular Franchises, it’s a little surprising something like this didn’t happen sooner. Jackson and company followed up the original trilogy of films nine years later with the bloated and overly CGI-reliant film series based on The Hobbit and corresponding events from Tolkien’s LOTR appendices. And, of course, Amazon’s The Lord of the Rings: The Rings of Power series debuted in 2022. And before The Hunt for Gollum arrives, we’ll see another intriguing project: an anime-style film called The War of the Rohirrim. That movie arrives this December and covers events in Rohan a few hundred years before The Lord of the Rings.

As a massive Lord of the Rings fan, I’m both skeptical and excited by this announcement. The sad reality of the entertainment world is that projects like this are going to happen no matter what; there’s too much money wrapped up in things like Lord of the Rings to not try and extract more. But Serkis seems like an excellent choice to direct this movie, and hopefully they’ll find a tight, self-contained story that works as a standalone film. The mess that was made in the Hobbit films has me wary, but even in those movies I found plenty of things to enjoy — and this feels like a good opportunity to chart a positive course forward for more movies in Middle-earth.

Peloton had a great pandemic. It’s a weird thing to say, but the company’s premium exercise equipment (expanding from bikes to treadmills and even weight-training tech) were the hot workout-from-home products. That boom made some people (not normal, sensible people) suggest we were never going back to bricks-and-mortar gyms once the world reopened.

But… we went back. Now, Peloton’s latest financial numbers and statements are not great, and further cuts, nips and tucks are now on the cards. Its shares have gone from $156 in 2021 to less than $3 today. Peloton is laying off 15 percent of its workforce, shuttering more of its showrooms and getting rid of its CEO, again. It also killed Mr. Big.

The company says it’s planning to expand overseas (it’s gained a foothold in the UK), but it might just be a case of the company resizing to fit the reality of at-home fitness in 2024.

— Mat Smith 

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Microsoft’s latest Windows security updates might break your VPN

Until the company issues a fix, the only workaround is to skip or uninstall it.

Microsoft says the April security updates for Windows may break your VPN. According to its own status update: “Windows devices might face VPN connection failures after installing the April 2024 security update.” It affects Windows 11, Windows 10 and Windows Server 2008 and later. However, user reports on Reddit are mixed, with some commenters saying their VPNs still work. So you might get lucky.

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Olivia Rodrigo, Drake and other Universal artists return to TikTok

The companies signed a new deal.

Samir Hussein via Getty Images

TikTok and Universal Music Group (UMG) have signed a deal so Taylor Swift, Olivia Rodrigo, The Weeknd and other artists can return to the platform. Universal pulled its song back in February. Now, a key part of the deal is artist protection from generative AI. “TikTok and UMG will work together to ensure AI development across the music industry will protect human artistry and the economics that flow to those artists and songwriters,” the companies wrote. Drake, also part of UMG, has had his own recent troubles with AI tools and music.

Continue reading.

X is changing how the block button works

Blocking will no longer hide your replies.

Elon Musk is not a fan of the block button. The button (and feature) persists for now, but X is changing how it works. X is tweaking the visibility of replies in a block. Previously, a user could block someone on X and still reply to their posts. The blocked person wouldn’t be able to view that reply, but other X users could. It’s a black-belt passive-aggressive X move. Now, users see direct replies even if the person posting has blocked them.

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TikTok and Universal Music Group (UMG) have signed a deal that will allow Taylor Swift, Olivia Rodrigo, The Weeknd and other artists to return to the platform, the companies announced in a press release. Universal pulled songs from its roster of performers back in February and with some exceptions, its music hasn't been there since. Both sides are now "working expeditiously" to get content back on the platform that's home to a billion-plus users. 

A key part of the deal is artist protection from generative AI. "TikTok and UMG will work together to ensure AI development across the music industry will protect human artistry and the economics that flow to those artists and songwriters," the companies wrote. "TikTok is also committed to working with UMG to remove unauthorized AI-generated music from the platform, as well as tools to improve artist and songwriter attribution."

Also part of the deal are "new monetization opportunities" from TikTok's recent expansion into e-commerce. TikTok will reportedly also assist artists by providing tools around analytics, integrated ticketing, an "Add to Music App" and more. 

Universal took the drastic move of pulling music earlier this year, forcing the platform to mute videos or replace tracks with options from other labels. "As our negotiations continued, TikTok attempted to bully us into accepting a deal worth less than the previous deal, far less than fair market value and not reflective of their exponential growth," UMG said at the time. 

Last month, Taylor Swift's songs returned to TikTok, likely because she has full control of her own catalogue and was able to strike a separate deal. Some songs by other UMG artists, including Ariana Grande, also started appearing on the platform.

The dispute appears to be water under the bridge, but it's the least of TikTok's problems at the moment. US Congress recently voted in favor of a bill that would see TikTok banned in a year unless owner ByteDance sells the app. 

Over a year after announcing it would acquire Mint Mobile for up to $1.35 billion, T-Mobile has closed the deal. With the Un-Carrier's purchase of parent Ka'ena Corporation, it will not only get Mint, but internationally focused prepaid operator Ultra Mobile and wholesale wireless provider Plum. T-Mobile also promised to keep Mint Mobile's $15 per month/5GB offering that's among the least costly in the US.

Mint Mobile is backed by Ryan Reynolds, who is believed to own 20 to 25 percent of the company. The purchase was announced back in March 2023, but the FCC only approved the deal last week. Mint will continue to be operated as a separate brand with Reynolds as pitchman and founders David Glickman and Rizwan Kassim joining T-Mobile to guide the brands. 

Mint Mobile's $15 plan has a few loopholes, namely you have to pay for three months at the start to get that rate, then pay for an entire year to keep it ($180 in total). As a perk, T-Mobile is offering "unlimited" (40GB with throttling, really) data for the first months. Customers will also get unlimited talk and text in Canada, along with 3GB of roaming data. 

Mint's rivals include T-Mobile itself, which has a very similar plan but a hard cap at 5GB, along with AT&T, which offers 15GB for $25 including 10GB of hotspot data. A one-year contract and up-front payment is required for the latter. 

In this installment of what we're listening to, Reviews Editor Cherlynn Low dives into new releases from Taylor Swift and Ariana Grande, and explores what music means to us when songs are consumed more like books and journal entries.

Cherlynn Low, Deputy Editor, Reviews

April 19 should have been declared a global holiday. It was, after all, the release day of Taylor Swift’s highly anticipated album, The Tortured Poets Department (TTPD). How could we be expected to work on this most hyped of Fridays, when there were lyrics to overanalyze and melodies to emo-walk to?

Taylor Swift - The Tortured Poets Department

I’ll admit: I hate myself a bit for the eagerness with which I hit play on albums like TTPD and Ariana Grande’s Eternal Sunshine (ES). Both musicians had recently left long-term relationships and got together with new beaus, amid rabid press coverage and relentless speculation on Reddit. I usually prefer to hear from the people involved instead of reading tabloid articles based on what “friends close to” said, and for Swift and Grande, songs are usually as close as we’ll get to primary sources. 

I saw these albums as opportunities to get their takes on what went down. Granted, it’s always wise to take their words with generous helpings of salt, the same way therapists tend to remember that their patients’ retelling of stories can be skewed or unreliable.

Both Grande and Swift have made their lives the subject of their music for years, and they often have an air of defensiveness. Titles like “Look What You Made Me Do” and “Yes, and?” make me think of people who blame others or don’t care about the consequences of their actions. Even songs like Swift’s “Anti-Hero” from her last album and Grande’s “Thank U, Next” seem at first glance to be about taking accountability, but really continue the theme of dodging real responsibility.

I’m not sure if music has always been rooted in scrutinizing the artist’s life, but it certainly seems to have become more popular in recent years. The level of interest and analysis around things as simple as word choice or order has probably never been as high, either. It’s also worth considering that these two much-hyped albums were released within two months of each other. Granted, Swift’s new music has only been out for about 40 hours, and there are 31 whole songs spanning a full 65 minutes and 8 seconds, so I will need to listen to it a few more times for it all to sink in.

Grande’s album, which dropped last month, was scrutinized by fans and critics alike. It was released shortly after her divorce from Dalton Gomez and her budding relationship (reportedly) with fellow Wicked cast member Ethan Slater.

When I first played through ES, I was mostly underwhelmed and annoyed. There was, as expected, no accountability for what her actions did to the mother of a newborn and a lot of romanticizing of her latest man. But even on just my second listening, I knew I had a few favorite tracks. Other Engadget staff members agree with me: ES is a solid album with quite a few bangers. 

Ariana Grande - Eternal Sunshine

I may not endorse Grande’s behavior — and no one asked me to — but damn, I can’t help liking her music. And it’s probably because I’m hooked on the melodies and production, not the lyrical content.

Swift, on the other hand, seems more of an aspiring wordsmith. Much has been said about her lyrical abilities, and I have no desire to retread those waters. I’ll just say that as an occasional aspiring poet myself, I have to admire the laissez faire approach of rhyming “department” with “apartment.”

I’m more intrigued by what seems to me like the priority of a song’s words over its tune and sound. Like Billboard states, TTPD’s title alone “calls even more attention to her lyricism than usual.”

Swift’s music has always felt like journal entries meant for the public, chock-full of inside references, Easter eggs and thinly veiled digs at former lovers. Her earlier works were therefore highly relatable for scores of teenagers around the world. But as her success ballooned, so has she grown out of touch with the average person, and her songs have consequently become more like glimpses into a life that mere mortals can only dream about. While her pieces continue to feel like blogs or Tumblr posts, Swift controls the narrative by carefully orchestrating not just synths, guitars and lyrics, but also pap walks and delicately timed public appearances.

Unlike Grande, who has mostly avoided appearing with Slater at high-profile events and also hasn’t hidden as many Easter eggs in her songs, Swift has not been afraid to show off and show up for her new partner. She’s not publicity-averse; she seems to anticipate and almost courts it.

With the general strategy around TTPD, like announcing it at the Grammy’s and slow teases of lyrics and cover art, it certainly seems like these days, the billionaire with a private jet problem is more focused on her myth and financial value than the art of songwriting.

Swift surprised everyone at 2AM on April 19 by releasing a whole 15 more songs alongside the initial 16 people were expecting for TTPD. This meant that anyone who pre-ordered the original album would miss out on basically an entire second album worth of tracks and need to spend more. The Swift team also made several versions of the physical album available, like collectors’ editions — all blatant cash grabs designed to maximize revenue.

Grande is guilty of this too, making so many different iterations of “Yes, and?” when that single was released in what seemed like an attempt to place the song at the top of streaming charts. ES also has different versions of cover art for fans to spend their hard-earned money on.

Here’s the thing. Do I care deeply about either of these albums? Nope. Did I eagerly listen to them, hoping to glean insight on their seemingly messy and chaotic relationships? Yes. But despite Swift’s marketing and positioning herself as a poet — and TTPD offering more of a look at her fling with Matty Healy from The 1975 — I realized I just didn’t quite like her album musically. In fact, my favorite Swift songs like “Wildest Dreams” and “Delicate” are beautiful symphonies of atmospheric synths and instrumentation.

Maybe I’m just learning that I care more about music than lyrics. Or maybe I think good songs are a combination of the two and should speak for themselves without having to rely on hype, gossip and marketing tactics. To be fair, that’s true of all art, whether it’s film, photography or poetry. And while the irony of my being sucked into playing TTPD and ES due to the promise of learning about their lives isn’t lost on me, I guess I just wish I could listen to music (and read books and watch movies) without having to worry or be so concerned about the creator’s choices and actions. But in 2024 (and beyond), that seems no longer feasible.

Do you like rip-roaring science fiction books? Do you like movies? Then you are in for a treat in, well, two years. Amazon MGM Studios just set a release date of March 20, 2026 for Project Hail Mary, according to Deadline. It’s based on the Andy Weir novel of the same name, which was one of our favorite books of the past few years, so color us excited.

The film stars honorary SNL cast member Ryan Gosling and will be directed by Phil Lord and Christopher Miller, the duo behind The Lego Movie and, allegedly, most of the good parts of Solo: A Star Wars Story. Lord also wrote a little-known movie called Spider-Man: Into the Spider-Verse.

The script was penned by Drew Goddard, who cut his teeth on TV shows like Buffy the Vampire Slayer and Lost before moving onto features. He directed Cabin in the Woods, which is somehow both iconic and underrated at the same time. If the name Andy Weir sounds familiar, it’s because he wrote a book called The Martian, which inspired the Matt Damon film. Incidentally, Goddard also wrote that script.

I’ve read the book and loved it. It’s more fantastical than The Martian, but still filled with the same science-based solutions to massive life-or-death problems. This time, the entire Earth is on the chopping block, instead of one lone astronaut. It’s also pretty dang funny, just like The Martian, so Lord and Miller are a good match to direct. The pair also signed on to direct an adaptation of another Weir novel, Artemis, but that project looks to have stalled.

Or course, a lot can happen in two years. Here’s to hoping our humble little society keeps clunking along so we can chomp down some popcorn in 2026. Speaking of, that year will also see the release of The Mandalorian & Grogu, the Rey Skywalker film, the sequel to The Super Mario Bros. Movie, Toy Story 5, The Batman Part II and, reportedly, Avengers: The Kang Dynasty. 

The bill that could ban TikTok in the United States inches closer to becoming law. The legislation passed the House of Representatives last month, then had to face the Senate — and opposition from a few prominent lawmakers. The House is to vote on a package of bills this weekend, which includes a slightly revised version of the TikTok bill. In the latest version, ByteDance would have up to 12 months to divest TikTok, instead of the six months initially pitched.

That change alone was apparently key to winning support from some skeptical members of the Senate, including Sen. Maria Cantwell, chair of the Senate Commerce Committee. What will happen if the bill passes into law? TikTok (and potentially other apps “controlled by a foreign adversary”) would face a ban in US app stores if it declined to sell to a new owner.

— Mat Smith

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Apple says it was ordered to remove WhatsApp and Threads from China App Store

Chinese regulators cited national security concerns.

… and in what you might believe is something of a tit-for-tat move for blocking TikTok, Apple has pulled WhatsApp and Threads from the Chinese App Store. The country’s internet regulator says the removal was required and justified on national security grounds. Apple is always willing to comply, lest it harm relations with one of its largest markets.

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Taylor Swift is joining Threads

At the exact same time as her new album drops.

Taylor Swift has a new album out. Taylor Swift has a new album out.

Taylor Swift has a new album out. Taylor Swift has a new album out.

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Analogue Duo review

A second chance for an underappreciated console.

Tim Stevens for Engadget

Analogue’s latest retro console takes us to the multimedia era with the Duo: a love letter to one of Japan’s most beloved (but niche) consoles, the TurboGrafx-16. It’s a deep cut from a brand that has made its name reviving the most obscure hardware from gaming history. But, as much as you can emulate all of these titles on pretty much any device you have laying around, there’s something different about running it from the original media.

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Netflix is done telling us how many people use Netflix

There’s no penalty for secrecy if you’re a streaming company.

Netflix has always been secretive about how much of its near-limitless library of content is being watched at any given time. Now, the company has said it will even stop disclosing how many subscribers it has to prevent giving Wall Street another stick with which to beat it. Instead, it’ll only drop data when it’s good PR, like crossing the 300-million subscriber threshold, and stick telling everyone how much money it’s making.

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With the Eras Tour still under way and The Tortured Poets Department dropping today, you can't shake off Taylor Swift these days. She's everywhere — in the news, on streaming services and on social media, which now includes Threads. Taylor's Threads account, and her first post, are going live around midnight. And if you're one of the first people to share her post, you'll get a custom badge based on her new album's artwork that you can display on your Threads profile. 

Meta has been dropping hints and releasing easter eggs for Swifties over the past week as part of a countdown for her album release today. You may have even seen its call to pre-follow Swift on Threads, along with the shimmer effect that's been showing up on conversations on the social network with Taylor-related hashtags. Celebratory hearts pop up when you like relevant posts, as well. 

On Instagram, you'll be able to change the background in your DMs with one that's inspired by TPD's artwork. The company told Engadget that the countdown on Taylor's Instagram profile will also reset, and you can apparently expect yet another surprise to go live at 2AM ET. 

Netflix has renewed The Witcher for a fifth season, but the company says that will bring the series to an end. The final season will be shot back-to-back with the fourth season, which has just started production. The two seasons will cover the events of the last three books in the series: Baptism of Fire, The Tower of the Swallow and Lady of the Lake. The show is a direct adaptation of Andrzej Sapkowski’s novels, but it does occasionally take inspiration from CD Projekt Red's game adaptations (and vice versa).

The fourth season will mark a significant change for The Witcher, as Liam Hemsworth is replacing Henry Cavill in the lead role. This time around, Geralt of Rivia will find a new family in the Hanza, who will help him track down Yennefer and Ciri after the trio is separated. New cast members who are joining for the fourth season include Laurence Fishburne, Sharlto Copley and James Purefoy.

In this installment of what we're listening to, Reviews Editor Cherlynn Low dives into new releases from Taylor Swift and Ariana Grande, and explores what music means to us when songs are consumed more like books and journal entries.

Cherlynn Low, Deputy Editor, Reviews

April 19 should have been declared a global holiday. It was, after all, the release day of Taylor Swift’s highly anticipated album, The Tortured Poets Department (TTPD). How could we be expected to work on this most hyped of Fridays, when there were lyrics to overanalyze and melodies to emo-walk to?

Taylor Swift - The Tortured Poets Department

I’ll admit: I hate myself a bit for the eagerness with which I hit play on albums like TTPD and Ariana Grande’s Eternal Sunshine (ES). Both musicians had recently left long-term relationships and got together with new beaus, amid rabid press coverage and relentless speculation on Reddit. I usually prefer to hear from the people involved instead of reading tabloid articles based on what “friends close to” said, and for Swift and Grande, songs are usually as close as we’ll get to primary sources. 

I saw these albums as opportunities to get their takes on what went down. Granted, it’s always wise to take their words with generous helpings of salt, the same way therapists tend to remember that their patients’ retelling of stories can be skewed or unreliable.

Both Grande and Swift have made their lives the subject of their music for years, and they often have an air of defensiveness. Titles like “Look What You Made Me Do” and “Yes, and?” make me think of people who blame others or don’t care about the consequences of their actions. Even songs like Swift’s “Anti-Hero” from her last album and Grande’s “Thank U, Next” seem at first glance to be about taking accountability, but really continue the theme of dodging real responsibility.

I’m not sure if music has always been rooted in scrutinizing the artist’s life, but it certainly seems to have become more popular in recent years. The level of interest and analysis around things as simple as word choice or order has probably never been as high, either. It’s also worth considering that these two much-hyped albums were released within two months of each other. Granted, Swift’s new music has only been out for about 40 hours, and there are 31 whole songs spanning a full 65 minutes and 8 seconds, so I will need to listen to it a few more times for it all to sink in.

Grande’s album, which dropped last month, was scrutinized by fans and critics alike. It was released shortly after her divorce from Dalton Gomez and her budding relationship (reportedly) with fellow Wicked cast member Ethan Slater.

When I first played through ES, I was mostly underwhelmed and annoyed. There was, as expected, no accountability for what her actions did to the mother of a newborn and a lot of romanticizing of her latest man. But even on just my second listening, I knew I had a few favorite tracks. Other Engadget staff members agree with me: ES is a solid album with quite a few bangers. 

Ariana Grande - Eternal Sunshine

I may not endorse Grande’s behavior — and no one asked me to — but damn, I can’t help liking her music. And it’s probably because I’m hooked on the melodies and production, not the lyrical content.

Swift, on the other hand, seems more of an aspiring wordsmith. Much has been said about her lyrical abilities, and I have no desire to retread those waters. I’ll just say that as an occasional aspiring poet myself, I have to admire the laissez faire approach of rhyming “department” with “apartment.”

I’m more intrigued by what seems to me like the priority of a song’s words over its tune and sound. Like Billboard states, TTPD’s title alone “calls even more attention to her lyricism than usual.”

Swift’s music has always felt like journal entries meant for the public, chock-full of inside references, Easter eggs and thinly veiled digs at former lovers. Her earlier works were therefore highly relatable for scores of teenagers around the world. But as her success ballooned, so has she grown out of touch with the average person, and her songs have consequently become more like glimpses into a life that mere mortals can only dream about. While her pieces continue to feel like blogs or Tumblr posts, Swift controls the narrative by carefully orchestrating not just synths, guitars and lyrics, but also pap walks and delicately timed public appearances.

Unlike Grande, who has mostly avoided appearing with Slater at high-profile events and also hasn’t hidden as many Easter eggs in her songs, Swift has not been afraid to show off and show up for her new partner. She’s not publicity-averse; she seems to anticipate and almost courts it.

With the general strategy around TTPD, like announcing it at the Grammy’s and slow teases of lyrics and cover art, it certainly seems like these days, the billionaire with a private jet problem is more focused on her myth and financial value than the art of songwriting.

Swift surprised everyone at 2AM on April 19 by releasing a whole 15 more songs alongside the initial 16 people were expecting for TTPD. This meant that anyone who pre-ordered the original album would miss out on basically an entire second album worth of tracks and need to spend more. The Swift team also made several versions of the physical album available, like collectors’ editions — all blatant cash grabs designed to maximize revenue.

Grande is guilty of this too, making so many different iterations of “Yes, and?” when that single was released in what seemed like an attempt to place the song at the top of streaming charts. ES also has different versions of cover art for fans to spend their hard-earned money on.

Here’s the thing. Do I care deeply about either of these albums? Nope. Did I eagerly listen to them, hoping to glean insight on their seemingly messy and chaotic relationships? Yes. But despite Swift’s marketing and positioning herself as a poet — and TTPD offering more of a look at her fling with Matty Healy from The 1975 — I realized I just didn’t quite like her album musically. In fact, my favorite Swift songs like “Wildest Dreams” and “Delicate” are beautiful symphonies of atmospheric synths and instrumentation.

Maybe I’m just learning that I care more about music than lyrics. Or maybe I think good songs are a combination of the two and should speak for themselves without having to rely on hype, gossip and marketing tactics. To be fair, that’s true of all art, whether it’s film, photography or poetry. And while the irony of my being sucked into playing TTPD and ES due to the promise of learning about their lives isn’t lost on me, I guess I just wish I could listen to music (and read books and watch movies) without having to worry or be so concerned about the creator’s choices and actions. But in 2024 (and beyond), that seems no longer feasible.

Do you like rip-roaring science fiction books? Do you like movies? Then you are in for a treat in, well, two years. Amazon MGM Studios just set a release date of March 20, 2026 for Project Hail Mary, according to Deadline. It’s based on the Andy Weir novel of the same name, which was one of our favorite books of the past few years, so color us excited.

The film stars honorary SNL cast member Ryan Gosling and will be directed by Phil Lord and Christopher Miller, the duo behind The Lego Movie and, allegedly, most of the good parts of Solo: A Star Wars Story. Lord also wrote a little-known movie called Spider-Man: Into the Spider-Verse.

The script was penned by Drew Goddard, who cut his teeth on TV shows like Buffy the Vampire Slayer and Lost before moving onto features. He directed Cabin in the Woods, which is somehow both iconic and underrated at the same time. If the name Andy Weir sounds familiar, it’s because he wrote a book called The Martian, which inspired the Matt Damon film. Incidentally, Goddard also wrote that script.

I’ve read the book and loved it. It’s more fantastical than The Martian, but still filled with the same science-based solutions to massive life-or-death problems. This time, the entire Earth is on the chopping block, instead of one lone astronaut. It’s also pretty dang funny, just like The Martian, so Lord and Miller are a good match to direct. The pair also signed on to direct an adaptation of another Weir novel, Artemis, but that project looks to have stalled.

Or course, a lot can happen in two years. Here’s to hoping our humble little society keeps clunking along so we can chomp down some popcorn in 2026. Speaking of, that year will also see the release of The Mandalorian & Grogu, the Rey Skywalker film, the sequel to The Super Mario Bros. Movie, Toy Story 5, The Batman Part II and, reportedly, Avengers: The Kang Dynasty. 

The bill that could ban TikTok in the United States inches closer to becoming law. The legislation passed the House of Representatives last month, then had to face the Senate — and opposition from a few prominent lawmakers. The House is to vote on a package of bills this weekend, which includes a slightly revised version of the TikTok bill. In the latest version, ByteDance would have up to 12 months to divest TikTok, instead of the six months initially pitched.

That change alone was apparently key to winning support from some skeptical members of the Senate, including Sen. Maria Cantwell, chair of the Senate Commerce Committee. What will happen if the bill passes into law? TikTok (and potentially other apps “controlled by a foreign adversary”) would face a ban in US app stores if it declined to sell to a new owner.

— Mat Smith

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Apple says it was ordered to remove WhatsApp and Threads from China App Store

Chinese regulators cited national security concerns.

… and in what you might believe is something of a tit-for-tat move for blocking TikTok, Apple has pulled WhatsApp and Threads from the Chinese App Store. The country’s internet regulator says the removal was required and justified on national security grounds. Apple is always willing to comply, lest it harm relations with one of its largest markets.

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Taylor Swift is joining Threads

At the exact same time as her new album drops.

Taylor Swift has a new album out. Taylor Swift has a new album out.

Taylor Swift has a new album out. Taylor Swift has a new album out.

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Analogue Duo review

A second chance for an underappreciated console.

Tim Stevens for Engadget

Analogue’s latest retro console takes us to the multimedia era with the Duo: a love letter to one of Japan’s most beloved (but niche) consoles, the TurboGrafx-16. It’s a deep cut from a brand that has made its name reviving the most obscure hardware from gaming history. But, as much as you can emulate all of these titles on pretty much any device you have laying around, there’s something different about running it from the original media.

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Netflix is done telling us how many people use Netflix

There’s no penalty for secrecy if you’re a streaming company.

Netflix has always been secretive about how much of its near-limitless library of content is being watched at any given time. Now, the company has said it will even stop disclosing how many subscribers it has to prevent giving Wall Street another stick with which to beat it. Instead, it’ll only drop data when it’s good PR, like crossing the 300-million subscriber threshold, and stick telling everyone how much money it’s making.

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With the Eras Tour still under way and The Tortured Poets Department dropping today, you can't shake off Taylor Swift these days. She's everywhere — in the news, on streaming services and on social media, which now includes Threads. Taylor's Threads account, and her first post, are going live around midnight. And if you're one of the first people to share her post, you'll get a custom badge based on her new album's artwork that you can display on your Threads profile. 

Meta has been dropping hints and releasing easter eggs for Swifties over the past week as part of a countdown for her album release today. You may have even seen its call to pre-follow Swift on Threads, along with the shimmer effect that's been showing up on conversations on the social network with Taylor-related hashtags. Celebratory hearts pop up when you like relevant posts, as well. 

On Instagram, you'll be able to change the background in your DMs with one that's inspired by TPD's artwork. The company told Engadget that the countdown on Taylor's Instagram profile will also reset, and you can apparently expect yet another surprise to go live at 2AM ET. 

Netflix has renewed The Witcher for a fifth season, but the company says that will bring the series to an end. The final season will be shot back-to-back with the fourth season, which has just started production. The two seasons will cover the events of the last three books in the series: Baptism of Fire, The Tower of the Swallow and Lady of the Lake. The show is a direct adaptation of Andrzej Sapkowski’s novels, but it does occasionally take inspiration from CD Projekt Red's game adaptations (and vice versa).

The fourth season will mark a significant change for The Witcher, as Liam Hemsworth is replacing Henry Cavill in the lead role. This time around, Geralt of Rivia will find a new family in the Hanza, who will help him track down Yennefer and Ciri after the trio is separated. New cast members who are joining for the fourth season include Laurence Fishburne, Sharlto Copley and James Purefoy.

Netflix has been experimenting with live sports over the last few months with golf and tennis exhibition events. The company has announced the biggest test for its livestreaming capabilities to date: a boxing match between YouTuber (and pro boxer) Jake Paul and former world heavyweight champion Mike Tyson.

The fight is going to be a spectacle for a number of reasons. Both fighters bring star power to the table. There's a 30-year age gap between them. Despite his 9-1 record, Paul can hardly be described as an elite fighter. While Tyson is regarded as one of the best heavyweights of all time, he retired 19 years ago and has only fought in two matches since then. Paul's second match was on the undercard of Tyson's last bout, which was against Roy Jones Jr. in 2020.

The battle will take place at the 80,000-capacity AT&T Stadium in Arlington, Texas. It's bound to attract a decent audience through Netflix as well. Most major boxing matches are on pay per view, but Netflix's 260 million subscribers will be able to watch at no extra cost.

Netflix hasn't released viewership figures for the Netflix Cup (its golf event) or the Netflix Slam (a recent tennis exhibition). Combat sports tend to deliver high viewership, though, suggesting that Netflix's infrastructure will have to handle more simultaneous streams than any of its other live events so far.

The company has dabbled with other live events over the last year or so, including a Chris Rock comedy special, the SAG Awards and a weekly cooking show with David Chang. However, the company has faced issues with livestreams in the past — it was forced to abandon plans for a live Love is Blind reunion due to technical issues.

Netflix has around nine months to make sure its livestreaming capabilities are in order before it embarks on its most ambitious sports (well, sports-adjacent) project yet. Starting in January, Netflix will be the home of WWE's live weekly shows in many markets, including the flagship program Raw in the US.

TikTok is being forced to take down more music from its platform as a royalties spat with Universal Music Group (UMG) rumbles on. UMG recently yanked recordings it owns or distributes from TikTok including tracks from the likes of superstars Taylor Swift, Billie Eilish and The Weeknd. The standoff is now impacting songs published by UMG.

"We are in the process of carrying out Universal Music Group's requirement to remove all songs that have been written (or co-written) by a songwriter signed to Universal Music Publishing Group (UMPG), based on information they have provided," TikTok said in a statement. "Their actions not only affect the songwriters and artists that they represent, but now also impact many artists and songwriters not signed to universal." TikTok added that it is still committed to "reaching an equitable agreement" with UMG.

Due to an issue called split copyrights, if a UMPG-contracted writer has contributed to a song in any way, that track has to be removed from TikTok. So artists who have collaborated with the likes of Swift, Adele, Justin Bieber, Mariah Carey, Ice Spice, Elton John, Harry Styles and SZA will see their songs disappearing from TikTok and being muted on videos that currently use them. The move will prevent more artists from plugging their work on the most important platform for promoting music.

According to the BBC, UMG removed around three million songs from TikTok after an agreement over its recording catalog expired. UMG's deal with TikTok over its publishing catalog (which covers some four million songs) ends later this week, at which point all relevant tracks will have vanished from the short-form video service.

Update 2/28 3:30PM ET: Added confirmation that TikTok is removing songs by UMPG-contracted songwriters.

In the big Nintendo Direct presentation yesterday, we learned of two of the four Xbox titles Microsoft said would appear on “the other consoles.” One of them is Pentiment, coming to Nintendo Switch, PS4 and PS5, well, today.

Microsoft

The critically acclaimed Pentiment has been an Xbox, PC and Xbox Cloud exclusive since launch in late 2022. It has an eye-catching animated historical art style — and is delightfully niche. The game’s director, Josh Sawyer, said creating and launching a game like this would never have been possible without Game Pass, which, as Kris Holt notes, makes it an unusual pick to be transferred to other platforms. Xbox boss Phil Spencer said earlier this month the titles hopping platforms had all been on Xbox and PC for at least a year and had hit their “full potential” on those platforms.

The other game coming to other consoles is Grounded — pretty much Honey I Shrunk the Kids, the game — and will land April 16. Microsoft also later confirmed that Hi-Fi Rush and Sea of Thieves are coming to PlayStation 5.

— Mat Smith

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Watch the first Borderlands movie trailer

It stars Cate Blanchett, Jamie Lee Curtis, Kevin Hart and Jack Black.

YouTube

There’s a Borderlands movie coming out, and we have our very first teaser trailer. This footage gives us a glimpse of all of the major characters. Cate Blanchett is taking a nice fat paycheck starring as the famously short-tempered Lilith, who’s searching for a mysterious vault. Comedian Kevin Hart portrays the mercenary Roland, and Jamie Lee Curtis plays the scientist Dr. Tannis, who featured in all three games. Also, you can’t have a video game adaptation without Jack Black, it seems.

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Apple Sports puts real-time scores on your iPhone lockscreen

It’s a smoother way to follow your favorite teams.

Apple

Apple has launched a new iPhone app, offering real-time stats for a number of major sports leagues. Once you’ve installed Apple Sports, you can set your favorite team and get a trove of data on your lock screen in the live activities box when the team is playing. The app is free and available in the US, UK and Canada for basketball, hockey and soccer. The company said other sports, including baseball and football, will debut when new seasons kick off.

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FTC concludes Twitter didn’t violate data security rules, in spite of Musk’s orders

Staff disregarded Musk’s directive to provide outsiders with “full access to everything.”

The Federal Trade Commission (FTC) concluded Elon Musk ordered Twitter (now X) employees to take actions that would have violated FTC rules on consumer data privacy and security. Twitter security employees “took appropriate measures to protect consumers’ private information,” likely sparing Musk’s company from government repercussions. FTC chair Lina Khan wrote: “Ultimately, the third-party individuals did not receive direct access to Twitter’s systems, but instead worked with other company employees who accessed the systems on the individuals’ behalf.”

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There’s a Borderlands movie coming out, and now we have our very first teaser trailer. This footage gives us a glimpse of all of the major characters, most of which are sourced from the game, and the tone that director Eli Roth is going for.

There’s a definite Guardians of the Galaxy vibe running throughout. Maybe it’s the heavy use of an iconic Electric Light Orchestra song, or maybe it’s the ragtag group of adventurers or the mix of action and humor. In any event, director Eli Roth seems to be channeling his best James Gunn. All things considered, that seems to be the right tone for a Borderlands movie. Color us cautiously optimistic.

Now onto the cast and the characters that franchise fans know and love. Cate Blanchett plays the famously short-tempered Lilith and the actress certainly looks the part. Just look at that hair and outfit. The film follows Blanchett as she looks for a mysterious vault rumored to be stuffed to the brim with sweet, sweet loot. It’s just like the game!

Jamie Lee Curtis plays the scientist Dr. Tannis, an NPC in all three of the mainline Borderlands games. Comedian Kevin Hart portrays the mercenary Roland, a playable soldier in many of the games. Jack Black, following his turn as Bowser in the Super Mario Bros. Movie, plays the robot Claptrap. The well-meaning robot is considered a mascot for the franchise and often acts as comic relief. Black seems well-suited to the role. The cast is rounded out by Ariana Greenblatt as the demolitionist Tiny Tina, star of the spinoff game Tiny Tina’s Wonderlands, and Florian Munteanu as her enforcer Krieg.

Of course, it remains to be seen if Roth can pull off this kind of big-budget adventure spectacle. The director’s mostly known for horror films. One thing’s for certain, however, the trailer actually looks and feels like Borderlands. The big and bright color palette recalls the cel-shaded aesthetic from the games. The movie hits theaters on August 9.