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The ultimate hotel room coffee-making guide

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Here is my philosophy on great coffee: drink it if you can get it, and don’t be a snob if you can only get something basic. But I have my limits on what I’ll accept, and those limits are well above what’s usually available in the little basket in your typical American hotel room. I am currently sitting in my first hotel room in over a year and figure a few of you might be doing the same soon, so here’s my guide for how to make the best coffee.

The obvious option is to locate the nearest coffee shop where you’re traveling, but that would necessitate leaving your hotel room, and the whole point of coffee is to build up the wherewithal to face the world in the first place. Instead, I prefer to make the coffee myself in the most convenient way given the limitations and options usually available in a hotel room.

The AeroPress Go makes it very simple to make good coffee in all conditions.

The best portable coffee brewer: AeroPress Go

Of all the coffee makers in all the travel bags in all the world, the AeroPress Go is the best for travel. It comes with a bunch of pieces of equipment that you’ll want on hand. There’s the basic system itself, which consists of a tube and plunger, of course. But it also packs itself into its own plastic cup and comes with a little container for filters, a scoop, and a stir stick.

There are a few reasons the AeroPress Go is so great for travel. First, it’s indestructible. Everything is plastic and can be knocked around. It’s also light, self-contained, and easy to clean. Most importantly for me, it’s an incredibly forgiving coffee maker. Conditions in a hotel room are going to vary from your home setup: unless you’re willing to devote space to a proper kettle and scale, you will be using smaller and simpler methods for getting hot water and measuring your ratios. Given that you can’t do everything exactly as you might like, the AeroPress has the best Good Coffee To No Fuss Ratio I’ve found.

It comes with a coffee scoop and stir stick, if you like using those when you brew your coffee. (I don’t bother with either.)

| Aeropress

AeroPress Go

Prices taken at time of publishing.

The AeroPress is the simplest way to make great coffee on the go. It comes with extra accessories that make life a little easier, too, including a filter holder, scoop, stir stick, and cup. It all packs up into a compact, clean package.

$32

at Amazon
$32

at REI

A simple immersion boiler is super portable — but never use it unattended.

The simplest way to boil water in a hotel room: immersion heater

This little coil is the thing that unlocked my entire travel coffee setup. The thing about making coffee is you need very hot water, and the thing about hotel rooms is your options for making very hot water range from bad to none. An immersion heater neatly solves that problem without taking up too much space.

You may be tempted, as I have, to buy a portable water kettle — the kind that collapses down. I have tried two or three, and they’re all bad: too fussy, hard to clean, and too big. This little coil is really all you need to boil water, provided you have a vessel you can drop it in.

A couple words of warning. 1. I don’t think it’s a great idea to use this in the cup that comes with your AeroPress. I’ve done it in a pinch, but I think you should use something else. I use my own thermos, but you can also get by with whatever mugs are provided to you in the hotel room. 2. This coil is a blunt instrument: it’s a coil of metal literally hooked directly into the outlet. Never leave it unattended when plugged in, and never plug it in without first ensuring it’s submerged in water.

One thing you’ll miss out on is directly controlling the exact temperature of your water with this boiler. That’s fine because you’re already using the AeroPress, which is very forgiving about things like water temperature.

When packing, I stuff this coil and its cord inside my travel mug.

Norpro Instant Immersion Heater

Prices taken at time of publishing.

This dead-simple immersion water heater boils water just by plugging it in, but you will need to provide your own vessel. It’s easy to use, but never use it unattended, and never plug it in unless it’s already immersed in water.

$11

at Amazon

I always try to buy local beans at my destination.

Get good coffee beans or grounds

You’re going to need good coffee to make good coffee, so get some good coffee. How you handle this is entirely up to you. My setup includes a hand coffee grinder (see below), but pre-ground beans are perfectly fine for hotel room coffee if you ask me.

My preferred way of handling the Bean Question is to not bring my own from home. Instead, I do a tiny bit of research before I leave and then buy them from a local shop when I arrive in town. I aim to try coffee that’s local and / or new to me. If you choose not to bring a grinder, the move is to go to the shop and ask them to grind the beans for you — that way, they’ll be just a little fresher than if you buy a pre-ground bag.

The last couple items below are totally optional. An AeroPress Go, a water boiler, and coffee are really all you need.

This Zojirushi travel mug keeps your coffee hot.

My favorite travel mug: Zojirushi stainless steel travel mug

I won’t deign to tell you what kind of travel mug you should use, but this one is my favorite. It’s compact, utterly spillproof, and doesn’t slosh coffee into my face when I’m walking and sipping. It’s a lovely coffee mug.

There are two downsides. You have to take some pieces apart to properly clean it; the lid is made up of plastic and gaskets. It’s not difficult to do and easy to put back together, but it is a little bit of work.

The second is a weird one, but here we go: for some people, it’s too good at keeping coffee hot. It sounds strange to complain about a coffee thermos being too good at its job, but sometimes you will use it at a coffee shop where you don’t have complete control over the temperature. For me, I’d rather have something that I know will keep my drink hot for hours.

I also use this as my travel water bottle when the coffee runs out. I recognize the irony of putting all this work into making great coffee only to use the same mug to drink water that will taste vaguely coffee-esque if I can’t clean it properly.

| Zojirushi

Zojirushi Stainless Steel Travel Mug, 12-ounce

Prices taken at time of publishing.

The Zojirushi Stainless Steel Travel Mug keeps coffee hot for a very long time — so make sure it’s the temperature you want before you put the lid on. A flip-top cap makes it easy to take a quick sip and the spout is designed to prevent splashing.

$24

at Amazon
$22

at Best Buy

Hand-grinding your beans in a hotel room is next-level coffee nerd, but you feel like you earn your cup.

My favorite portable coffee grinder: Timemore Chestnut C2

Okay, this is where I’ve gone off the deep end, I admit it. Hand-grinding your beans, one cup at a time, is obviously and inherently ridiculous when you’re sitting in a hotel room. But I bought this Timemore grinder on a lark a couple years ago, and it’s such a good little machine that I pack it anyway.

There are lots of different hand grinders, but I love this one because it’s relatively small and has a satisfying heft. It has a ton of different grind size options. I’ve used it enough that I can eyeball how much to fill it with beans to get the right amount of coffee ground to use in the AeroPress Go.

It’s over the top, I know. But fresh, burr-ground coffee really does taste better — which is to say you have to work for it with manual labor, and therefore you will convince yourself you can taste the difference.

My coffee gear takes up a little more than the space of a folded pair of bluejeans. Worth it.

Bonus: A simple AeroPress Go recipe

There are a kajillion AeroPress recipes on the internet. I am here to tell you that the best one is the one you land on yourself after some trial and error. In a hotel room, I do not bother with a scale. (I’m not a maniac, I swear.) Here’s my recipe:

Put a (dry) filter in the AeroPress, and set it on top of the included cup.
Grind the coffee as fine as I feel like. (The finer it’s set, the more work it is to hand-grind.)
Eyeball the amount of coffee I put into the AeroPress. I fill just over the base of the filter cap.
Fill it up with just-off-the-boil water just over the number 3 on the side.
Set the plunger on and pull up slightly to make a vacuum.
After two minutes, swirl the whole thing to agitate, then press for 30 seconds.
Taste. Add a little water if necessary.

Here’s a slightly more detailed recipe from James Hoffman:

Photography by Dieter Bohn / The Verge

A Lord of the Rings anime movie is headed to theaters

New Line Cinema and Warner Brothers Animation are working on a new Lord of the Rings movie that’s bound for theaters, with an anime twist (via Variety). The movie will be called The Lord of the Rings: The War of the Rohirrim, and it will cover the history behind the fortress at Helm’s Deep — whose battle is one of the most exciting parts of the entire original trilogy with its exploding walls, shield surfing, and incredible horse stunts.

In case you need your memory jogged:

Kenji Kamiyama will be directing the movie, and it’ll be interesting to see how well his style maps to a medieval fantasy setting — he’s mostly tackled futuristic sci-fi projects before, including Ghost in the Shell: Stand Alone Complex, 009 Re: Cyborg, and Netflix’s Ultraman. The movie is being written by the creators of The Dark Crystal: Age of Resistance, and while Peter Jackson isn’t directly involved, one of the writers for the original trilogy (and the Hobbit movies) is acting as a consultant.

While the names behind the film are interesting, it doesn’t seem like Warner Brothers or New Line are going deep into the Tolkien well for story ideas — the events Rohirrim will be depicting are only a few hundred years before the battle depicted in The Two Towers. Compare that with, say, Amazon’s Lord of the Rings show, which is set in the Second Age, way before the War of the Ring — the characters in the anime movie may be unfamiliar to most viewers, but the world will likely be pretty similar to what we’ve already seen. Of course, there’s still room for this project to be interesting, but perhaps it would’ve been more exciting if we were getting a story about something like the Silmarils or the fall of the Númenor.

So far, we don’t know details like when the movie will be released or who will be staring in it.

Here’s a List of All the RTX 3070 Ti Cards You Can Dream About Buying

(Image credit: Inno3D)

With the launch of the Nvidia GeForce RTX 3070 Ti, we’re collecting information about all of the partner cards that have launched or will launch soon. We have listings from seven companies, ranging from top-end liquid cooling models to budget-friendly cards.

The RTX 3070 Ti, is Nvidia’s latest mid-range to high-end SKU for the RTX 3000 series lineup. The GPU is based on a fully enabled GA104 die consisting of 6144 CUDA cores, operating at up to a 1770MHz boost frequency for the reference spec. The GPU will come with 8GB of GDDR6X memory operating at 19Gbps and a TDP of 290W.

EVGA

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(Image credit: EVGA)

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To keep things simple during this GPU shortage crisis, EVGA has only released two SKUs for the RTX 3070 Ti, the XC3 Gaming and the FTW3 Ultra Gaming. You can grab both of these cards right now on EVGA’s store if you have the companies Elite membership. If not, you’ll need to wait until tomorrow to grab the cards if they happen to be availably.

Nothing has really changed with the RTX 3070 Ti’s FTW3 and XC3 designs, both cards feature a triple-fan cooler design, along with a fully blacked-out shroud. The XC3 is a much more stealthy dual-slot cooler, with barely any RGB insight.

The FTW3 model is much larger at 2.75 slots in thickness, and features much more RGB than its cheaper counterpart.

The FTW3 model runs at a boost frequency of 1860MHz while the XC3 runs at a lower 1770MHz.

Gigabyte

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(Image credit: Gigabyte)

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(Image credit: Gigabyte)

Gigabyte has done the exact opposite of EVGA and released five different SKUs for the RTX 3070 Ti, ranging from the flagship Aorus Master model down to the RTX 3070 Ti Eagle, a more budget-friendly card.

Because Gigabyte does not have its own store, expect to buy (or wait to buy) these cards from popular retailers such as MicroCenter, Newegg, Amazon, Best Buy and others.

Aesthetically, each RTX 3070 Ti SKU has subtle differences between the RTX 3080 and RTX 3070 versions. For each SKU, Gigabyte has adjusted the design of the cards, giving them the same colors as the 3080 and 3070 cards, but offering slightly different design elements.

The only exception to this is the RTX 3070 Ti Vision, which shares the exact same design as the RTX 3080 and 3070 models.

All RTX 3070 Ti models are triple-fan cooler designs, presumably due to the 3070 Ti’s really high TDP of 290W. The Aorus Master is the top trim with a beefy triple slot heatsink, and lots of RGB. The Gaming variant is Gigabyte’s mid-range SKU, and the Eagle represents Gigabyte’s lowest-end offering. The Vision model is aimed more towards the prosumer market, with less “gamery” aesthetics.

MSI

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(Image credit: MSI)

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(Image credit: MSI)

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MSI will be offering three custom-designed versions of the RTX 3070 Ti, the Suprim, Gaming Trio and Ventus. Each model also comes with a OC model, doubling the amount of options to six.

The Suprim is the flagship card with a silver and grey finish, and a shroud that measures beyond two slots in thickness. RGB can be seen by the fans and on the side.

The Gaming Trio is the mid-range offering, featuring a blacked out shroud along with red and silver accents. The card is similar in height to the Suprim and is over two slots thick.

The Ventus is MSI’s budget entry level card featuring a fully blacked out shroud, with grey accents and again, is more than two slots thick. If you want a stealthy appearance this is the card to go for.

Compared to the RTX 3080 and RTX 3070 equivalent models, there’s very little difference between them and the RTX 3070 Ti SKUs. They all are incredibly similar in size, and aesthetically are largely identical besides a few backplate design changes and a couple of accent changes on the main shroud.

Zotac

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(Image credit: Zotac)

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(Image credit: Zotac)

Zotac is coming out with just two models for the RTX 3070 Ti, the Trinity and AMP Holo.

Both the Trinity and Holo feature triple-fan cooler designs, with largely identical design elements to them. Both feature grey and back color combinations, along with

The main difference between the cards is a slightly different boost speed of 1800MHz on the Trinity vs 1830MHz on the Holo, and the Holo features a much larger RGB light bar on the side, making the Trinity the more “stealthy” of the two.

Inno3D

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(Image credit: Inno3D)

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(Image credit: Inno3D)

Inno3D is releasing four different SKUs for the 3070 Ti, the iChillX4, iChill X3, X3 and X3 OC.

The Chill X4 and X3 are almost identical in everything; The only major add for the X4 is a quad fan setup, with an extra fan to give the card some active airflow from the side. We are not sure how much this will affect temps, but it’s a cool looking feature.

Both the Chill X3 and X4 feature very aggressive styling for a graphics card, with a black and metal finish, with several screws drilled into the metal, similar to race cars. To the side is a very bright and large strip of RGB that looks like something from Cyberpunk 2077. The RGB itself has a neon glow to it, with the ‘iChill’ logo installed in the middle.

The Chill X3 and X4 feature 1830Mhz boost frequencies and thicknesses beyond 2 slots.

INnno3D’s RTX 3070 Ti X3 and X3 OC on the other hand, are the complete opposite of the Chill cards. The shroud is a very basic black shroud with no RGB or lighting anywhere on the card. This is Inno’s budget-friendly option which explains the simplistic design.

The card comes with a 1770MHz boost clock, with the OC model featuring a 1785MHz boost frequency. The X3 comes with a flat 2 slot thickness, allowing the card to fit in slimmer chassis.

Galax

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Galax is coming in with four different versions of the RTX 3070 Ti, including dual fan options.

The flagship model for Galaxy is the 3070 Ti EXG, available in Black or White colors. These cards feature large triple-fan cooler designs and thicknesses beyond two slots. The shrouds are very basic, with just a pure black or pure white shroud, depending on the color you purchase. Making up the lighting are the fans with RGB illumination.

The RTX 3070 Ti SG is probably the most interesting of all of the 3070 Ti cards as a whole, with a unique add-on cooling solution. The card comes with the same shroud and fan design as the EXG, but features a significantly cut-down PCB, to make way for a large cut-out at the end to allow the installation of an additional fan to the rear of the card. If space allows, this additional fan gives the rear of the card a push-pull design, for maximum airflow.

Next, we have the 3070 Ti EX, a dual-fan option available in black or white flavors. This is the first SKU we’ve seen with a dual-fan solution for the 3070 Ti, so this will be a great option for users looking for a compact solution for smaller chassis. However, like the other Galax cards, the thickness is higher than two slots, so keep that in mind for smaller builds.

Besides the dual fan cooler, everything else is very similar to the EXG models with a pure black or white finish (depending on the flavor you choose) and RGB fans.

Lastly, there’s the Galax RTX 3070 Ti, a card with no fancy name, representing the budget endo Galax’s lineup.

The card is super basic with a carbon fiber-looking black shroud, and black fans. Unlike the EX model, this card is boxier with fewer angles to the design.

Palit

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(Image credit: Palit)

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(Image credit: Palit)

Palit is introducing three versions of the RTX 3070 Ti: the GameRock, GameRock OC, and Gaming Pro.

The GameRock appears to be the company’s flagship model for the 3070 Ti. The card comes in a wild-looking grey shroud paired with a layer of see-through diamond-like material all along the fan area. This part is all RGB illuminated.

The cards are triple fan cards with sizes larger than two slots in thickness.

The GamingPro, on the other hand, is a more normal card, with a black and grey shroud and some fancy silver accents which act as fan protectors on the middle and rear fans. This card is similar in size to the GameRock cards.

The GameRock OC comes with a 1845MHz boost clock, the vanilla model features a 1770MHz boost clock, and the same clock goes for the GamingPro.

How to set up a VPN

Virtual private networks (VPNs) can offer an additional layer of security and privacy for your online activity. Whether you’re working on a public Wi-Fi network and want to escape prying eyes, or you’re worried about privacy in general, a VPN can offer a lot of benefits.

In a nutshell, a VPN establishes a secure, encrypted connection between your device and a private server, hiding your traffic from being seen by others. Of course, the VPN itself can still see your traffic, which is why you should choose a VPN from a company you trust. (A good rule of thumb is to avoid free VPNs, because if they’re not charging you a fee, they may be monetizing in some less desirable way.) In addition, law enforcement can get its hands on your information through the VPN company. However, for the most part, a VPN offers you a way to hide your online activity from others.

Note that getting a VPN is only one of the measures you can take to make your web browsing more secure. Others include enabling two-factor authentication and using a password manager.

In addition to their security benefits, VPNs can be handy when you’re trying to access sensitive information, or if you’re traveling in Europe and want to stream Netflix or Amazon Prime titles only allowed in the US. Some even claim they can allow you to jump firewalls in heavily regulated countries such as China.

At home, you can set up your VPN through your router, which takes a few more steps, but then any devices connected to your router won’t need to be configured individually; this can also slow down all traffic that goes through. However, for this article, we’re going to concentrate on VPN apps that you can load on your laptop or phone so you can use the internet safely while away from your home base.

Most VPN apps these days support the OpenVPN protocol, making setup a simple matter of allowing the app access to configure the settings for you. But whether your device uses macOS, Chrome OS, Windows 10, iOS, or Android, if you’d like a quick overview of what’s involved before selecting a service, or if you prefer to do a manual setup, we’ve broken down the steps into straightforward instructions for you.

Setting up a VPN in Windows 10

The first step is to create a VPN profile, which you’ll fill out with details from your particular VPN service.

Add a VPN profile in Windows 10.

Click on the Windows button, then head into “Settings” > “Network & Internet” > “VPN.” Click on “Add a VPN connection.”
In the fields on the menu, select “Windows (built-in)” for your VPN provider. Give your VPN a name under “Connection name.” Enter the server name or address, the VPN type, and the type of sign-in info, such as a username and password.
Click “Save.”
To connect to your VPN, go back to “Settings” > “Network & Internet” > “VPN.” Click on your VPN name.
If you want, you can select “Advanced Options” to edit the connection properties, clear your sign-in info, or set up a VPN proxy. You can also add a username and password in this section for extra security (optional, but recommended).
Select “Connect” and enter a password if you’ve set one.

Setting up a VPN in Chrome OS

While using a VPN with a Chromebook used to be a problem, these days, there are several (like ExpressVPN or NordVPN) that have versions specifically for Chrome OS. To get started, you can head to the Google Play store and get the VPN app from there, or download one from the VPN’s website. No matter which you choose, after opening your VPN app, it should prompt you with instructions on how to fully set it up.

If you need to do it manually, you can. Chrome has native support for L2TP / IPsec and OpenVPN. To install a VPN that works with one of these formats:

Chrome OS has native support for L2TP / IPsec.

Click on the time in the lower-right corner of your screen, then click on “Settings.”
Click on “Add connection” and then on “OpenVPN / L2TP.” (You may also find the name of your VPN in the “Add connection” list, which will make things easier.)
Add all of the necessary information, which may include server hostname, service name, provider type, pre-shared key, username, and password. You can save your identity and password if you like. When finished, click on “Connect.”

Some VPNs, especially those issued from a workplace, demand a certificate, which you will need to import first. If that’s required:

Enter chrome://settings/certificates into the address bar.
Go to the “Authorities” tab. Find the correct certificate in the list and click “Import.”
Then follow the instructions above for setting up the VPN.

Setting up a VPN in macOS

As with the other formats here, there are apps that automatically guide you through the setup process, but you can also do it yourself manually.

Open the drop-down menu and choose “VPN” so you can enter your VPN’s details.

To start, head into “System Preferences” and then choose “Network.”
From there, the process is straightforward. Click the Plus-symbol button on the bottom left, and use the Interface drop-down menu to choose your VPN. You’ll need the details from your VPN of choice to fill out “VPN Type” and “Service Name.”
Click on “Create.” Fill out the server address, remote ID, and local ID in the appropriate fields. Then click on “Authentication Settings.”
Enter the username and password for your VPN, which you can set through your VPN app.
Click “OK” and then “Connect.”

Setting up a VPN in iOS

Setting up a VPN on an iOS device is fairly simple. Again, if you download an app from the App Store, select it and it should guide you through configuration. Here’s how to do it manually, though:

Just head into “Settings” and tap on “General.”
Scroll down to select “VPN.” (The iPhone will indicate whether you are currently connected to one or not.)
Tap on “Add VPN Configuration” and then on “Type” to select a security protocol. (Follow the instructions provided by your chosen app.)
Go back to the “Add Configuration” screen, where you will add the VPN’s description, server, remote ID, and local ID.
Enter your username and password. You can also use a proxy if you like.
Tap “Done.” You will then be brought back to the VPN screen. Toggle the “Status” switch to on.

Setting up a VPN in Android

As with iOS, setting up a VPN on an Android device shouldn’t be too difficult. Here’s the manual process if you’re not letting an app automatically configure things for you. (Keep in mind that, because some vendors like Samsung tweak their Android versions, your process may vary slightly.)

Head into “Settings” > “Network & Internet” > “Advanced” > “VPN.” If you don’t see “Network & Internet” in the Settings menu (which may depend on your Android overlay), then do a search within Settings for VPN. Press the “Add” button.
If you happen to be setting this up on a new phone, or if you haven’t yet set a screen lock or password, Google will prompt you to set one for your phone first. Do so.
Now create your VPN profile. Add the VPN name, type, and server address. Click on “Save.”
You’ll be taken back to the VPN screen, where you should now see the name of your VPN. Tap on it, and put in your name and password for the VPN. You can also choose to save your account information, and you can optionally set the VPN to be always on. When finished, tap “Connect.”
Enter the VPN name, type, server address, username, and password.
Then tap “save.” You’re done!

Once you’ve got your VPN up and running, you might notice that web browsing isn’t as fast as it used to be, especially if you’ve configured traffic to go through another country. Stronger encryption, or more users connected to one VPN, can also slow down your internet speeds. Downloads might slow to snail speed, and your League of Legends screen lag might be absurd. But those aren’t big problems compared to the security that you’ve added.

And anyway, now that you know how to set up a VPN, toggling it off is easy in comparison. You just have to remember to do it.

Update June 1st, 2021, 10:20AM ET: This article was originally published on March 1st, 2019, and now features a few updates related to changes in the Windows 10 interface.

Asus Chromebook Detachable CM3 review: Duet redux

All in all, Asus’s Chromebook Detachable CM3 is a nice package. It’s a 10.5-inch tablet with magnetically-attached fabric cover and kickstand. It’s $389.99 as tested, which means it’s priced far below all kinds of convertible Chromebooks. I’m not the first to make this comparison, but it’s a slightly more expensive, and slightly fancier version of the $269 Lenovo Chromebook Duet (currently listed at $269) that impressed me so much last year.

I think the CM3 is a slightly worse purchase than the Duet for most people who are looking for a secondary device, or a small Chromebook for a student. The CM3 does offer a few noticeable benefits over the Duet, but I’m not sure they’re worth $100. While features like a dual-folding kickstand, a garaged stylus, and a headphone jack are nice to have, none of them are as central to a device’s user experience as its processor. And while $269 is an acceptable price to pay for a tablet with a MediaTek chip, $389.99 is pushing it.

With all that said, I don’t have many problems with this Chromebook. It’s just in a bit of an odd spot.

My test unit includes 128GB of storage, 4GB of RAM, a 10.5-inch 1920 x 1200 display, and a MediaTek 8183 processor. There’s a 64GB version listed at $369.99 as well. 64GB isn’t a lot of storage (and there’s no microSD card slot for expansion on the CM3), so my config is the one I’d recommend most people go for.

The most important thing to understand about the CM3 before you buy it is the size. It’s small, with just a 10.5-inch screen. This brings benefits and drawbacks. On the one hand, it’s quite slim and portable, at just 0.31 inches thick and 1.1 pounds (2.02 pounds with the keyboard and stand attached). It’s the kind of thing I could easily carry in my purse.

On the other hand, a 10.5-inch screen is cramped for a desktop OS like Chrome OS (though it is bright enough to use outdoors, and I appreciate that it has a 16:10 aspect ratio — 16:9 would be unbearable for me at this size). But it was too small for me to comfortably use as a work driver. I had to zoom out far to be able to see everything I needed to in my Chrome windows.

It also means there’s only so much space for the keyboard deck, which is also cramped. The touchpad, in particular, is small. The keyboard itself is roomier than the Duet’s, though — it has a surprising amount of travel and a satisfying click. While the small keys are a bit of an adjustment, none are small enough as to be unusable.

Small doesn’t mean cheap, and the CM3’s build is fairly sturdy overall. The palm rests and detachable keyboard deck feel quite plasticky, but the tablet itself is aluminum (with “diamond-cut edges”, per Asus). The magnetic cover is made of a woven fabric, and looks quite similar to the cover of the Chromebook Duet. The cover is included with the price of the CM3, which isn’t the case with some detachables (such as Microsoft’s Surface Go line).

A USI stylus lives in the top right corner of the chassis — it’s firmly in there, so you’ll need a nail to tug it out. It’s small, and not my favorite stylus I’ve ever used, but it is there and does work. The Duet supports USI styluses, but it doesn’t come with one, so that’s one advantage the CM3 brings.

The main way the CM3 is unique to other detachables is that its kickstand folds multiple ways. That is, you can fold it the long way when you’re using the tablet like a laptop, or you can flip the tablet vertically and fold the kickstand horizontally. This is a cool feature I haven’t seen before, and it does work — I was never worried about the CM3 falling over in either direction.

On the other hand, the only real use case I can think of for the horizontal position is video calls where you don’t need to have the keyboard attached and are okay with the camera being on the side of the screen. You can take your own view, but I’d rather use an iPad or dedicated tablet for these purposes and have the camera in the right place.

My unit did have a bit of fraying on the edges of the keyboard deck, which was disappointing to see on a brand-new device, even at this price. The kickstand cover also slipped off the tablet a few times while I was adjusting the height, which isn’t something that ever happened with the Duet.

Speaking of convertibility, the CM3 has a two-megapixel front-facing camera as well as an eight-megapixel rear-facing camera. Both cameras deliver a surprisingly reasonable picture. I wasn’t too washed out when I did a video call outside, nor was I too grainy in dim light. That said, the dual-camera setup is another cool-sounding feature that probably isn’t the most pragmatic: The rear camera isn’t good enough for actual photography of any kind, and the best use case is probably for snapping pictures of a whiteboard in class. It also takes a few seconds for the CM3 to swap between cameras (it’s not nearly as quick of a swap as it is on an iPhone, for example) so it wouldn’t have saved me a ton of time over just whipping out a phone.

The CM3’s MediaTek MTK 8183 is a hybrid chip that’s mainly used in Android tablets. (It’s a different MediaTek chip from the one that was in the Duet last year, but very similar to the one in uh, Amazon’s new Echo Show 8 smart display.) It’s far from the most powerful processor you can find in a Chromebook, but that’s by design — battery life is going to be a higher priority for many folks who are considering a device as portable as the CM3.

The battery life is, in fact, excellent. I averaged 12 hours and 49 minutes of continuous use running the CM3 through my regular workload of Chrome tabs and Android apps including Slack, Messenger, Twitter, Gmail, Spotify, and an occasional Zoom call with the screen at medium brightness — over an hour longer than I saw from the Duet with the same workload. This is already a heavier load than many people may want to put the CM3 through, so you may get even more time between charges. The 45W USB-C adapter juiced the CM3 up to 40 percent in an hour, making it much faster than the Duet’s wimpy 10W charger.

That battery life doesn’t come free, though, and the CM3’s performance was a mixed bag. It works fine in Chrome, for example, albeit with a teensy bit of sluggishness when swapping tabs and resizing windows, as well as other Google services like Gmail, Docs, Drive, Calendar, and Meet (and it comes with a free 12-month 100GB membership to Google One for the rest of this year). Gaming is also fine — Flipping Legends and Monsters were both smooth and stutter-free, regardless of whether the CM3 was plugged in or running on battery.

I also think Chrome OS’s tablet mode, which the CM3 supports, has gotten pretty good. It uses Android-esque gesture controls that can help flatten the learning curve for new Chromebook users. Swiping up brings you to the home screen, for example, and swiping right swaps between web pages. You can access a version of Chrome specifically for tablets, which allows you to easily open, close, and reorder tabs with drags, swipes, and large buttons. It’s not quite like using an iPad, but I do think it’s a smoother experience than Windows’s tablet mode (especially in Chrome).

All you have to do to switch in and out of tablet mode is snap the keyboard on and off — it takes a second, and my windows didn’t always quite go back to the way I’d arranged them when I put the keyboard back on, but it’s a reasonably smooth affair overall.

But the CM3 didn’t perform well on every task I needed. Sometimes when I was trying to use Slack or Messenger over a pile of Chrome tabs, something would freeze. Zoom calls were possible — which is more than can be said for some budget Chromebooks — but I did run into lag between audio and video inputs. Slack froze and crashed quite often, and Spotify crashed a few times as well.

Access all kinds of Android apps through the Google Play store.

Photo editing was where I really ran into trouble. Lightroom was basically unusable on the CM3 with just a few things running in the background — I tried to edit a batch of around 100 photos, and could consistently only get through a few before the program crashed. I tried to move over to Google Photos, which also eventually crashed, and ended up having to do everything in Gallery. Of course, not everyone will be editing photos on their Chromebook, or pushing it as hard as I was pushing this one, so it’s a matter of knowing your own needs.

Speaking of Zoom meetings, the dual speakers are okay for Zoom calls but not too much more. The songs I played had stronger percussion than I sometimes hear from laptop speakers, but it was thin and tinny overall. The microphone did seem to work well, and didn’t have trouble picking up my voice on calls.

This was a difficult product to score. I do think the CM3 is a great device. And it does offer a few benefits over the Chromebook Duet that justify it costing a bit more. I’d probably purchase it over the Duet myself for the keyboard alone if I were looking for this type of device — the versatile kickstand, built-in stylus, and decent build quality are nice perks as well.

But “if I were looking for this type of device” is doing some heavy lifting in that sentence. I’m not looking for a MediaTek device, and there’s a reason I’m not. The battery life is impressive, sure, but it’s just not enough horsepower for the workload I need. And if you are someone whose needs are suited to this low-powered processor (and there are plenty of these people in the world), I really think $389 is at the very high end of what you should be spending.

Sure, the CM3 has a (just okay) stylus, a kickstand with a funky fold, slightly better battery life, and one extra port. But it’s also on par with or slower than the Duet in most tasks I tried, the audio is worse, and it’s thicker and heavier. Given all that, I’m not convinced the CM3’s advantages are worth $100 to most people who are shopping in this category.

SpaceX’s Starlink is in talks with ‘several’ airlines for in-flight Wi-Fi

The team behind SpaceX’s growing satellite internet network Starlink is in talks with “several” airlines to beam internet to their airplanes, the project’s vice president said during a conference panel on Wednesday. Expanding Starlink from rural homes and onto airlines is an expected move for Elon Musk’s space company as it races to open the broadband network commercially later this year.

“We’re in talks with several of the airlines,” Jonathan Hofeller, SpaceX’s VP of Starlink and commercial sales, told a panel at the Connected Aviation Intelligence Summit on Wednesday. “We have our own aviation product in development… we’ve already done some demonstrations to date, and looking to get that product finalized to be put on aircraft in the very near future.”

Since 2018, SpaceX has launched nearly 1,800 Starlink satellites out of the roughly 4,400 it needs to provide global coverage of broadband internet, primarily for rural homes where fiber connections aren’t available. The company is in the midst of a Starlink beta phase that promises up to 100Mbps download and 20Mbps upload speeds, with tens of thousands of users so far. Most are paying $99 per month for internet under that beta, using a $499 bundle of a self-aligning Starlink dish and Wi-Fi router.

Last year, SpaceX filed plans to test Starlink on five Gulfstream jets. And in March, SpaceX sought FCC approval to use Starlink with so-called Earth Stations in Motion — industry jargon to refer to basically any vehicle that would receive a signal, including cars, trucks, maritime vessels, and aircraft. Musk clarified on Twitter at the time: “Not connecting Tesla cars to Starlink, as our terminal is much too big. This is for aircraft, ships, large trucks & RVs.” Another FCC filing from last Friday requested approval for testing across five US states of an updated receiver with a square-shaped antenna, a basic design commonly associated with aircraft antennae.

Hofeller said the design for SpaceX’s airline antennas will be very similar to the technology inside its consumer terminals, but “with obvious enhancements for aviation connectivity.” Like those consumer antennas, the aviation hardware will be designed and built by SpaceX, he said. The airborne antennas could link with ground stations to communicate with Starlink satellites.

For Starlink to provide connectivity to airplanes flying over remote parts of the ocean, far from ground stations, will require inter-satellite links — a capability in which satellites talk to each other using laser links without first bouncing signals off ground stations. “The next generation of our constellation, which is in work, will have this inter-satellite connectivity,” Hofeller said.

SpaceX launched its 29th batch of Starlink satellites from Florida on May 26th

Photo by Paul Hennessy/SOPA Images/LightRocket via Getty Images

Competition is fierce between Musk’s Starlink network and the growing industry of low-orbit satellite internet providers. New competitors include so-called mega-constellations from Jeff Bezos’ Amazon, which has yet to launch any of its planned 3,000 satellites, and the UK’s OneWeb, which has launched 182 satellites of roughly 640 planned. All of those satellites will be in low-Earth orbit, a domain below the more distant geostationary orbits of larger internet satellites that currently provide internet services to commercial aircraft.

Established US competitors for in-flight internet are Intelsat and ViaSat, which operate networks of satellites in geostationary orbit. ViaSat recently announced plans to use its next-generation satellite network on Delta’s mainline fleet. The California-based company is planning a 300-satellite low-orbit network of its own as well as a new geostationary trio that will start launching early next year. It is already a diehard competitor to SpaceX. ViaSat has threatened to sue the Federal Communications Commission for not doing an environmental review on a recent Starlink modification.

SpaceX appears confident that it can outlast the more established competition. “All in all, passengers and customers want a great experience that [geostationary] systems simply cannot provide,” Hofeller said on the panel. “So it’s going to be up to the individual airline whether they want to be responsive to that, or if they’re okay with having a system that is not as responsive to their customers’ demand.”

OneWeb, which was pulled out of bankruptcy last year by the UK government and Indian telecom giant Bharti Global, is also targeting in-flight internet services with its constellation and has been far more public with its plans than SpaceX. Asked by the panel moderator when customers can expect to use in-flight internet with any of the competing satellite networks currently expanding in low-Earth orbit, OneWeb’s VP of mobility services Ben Griffin estimated “the middle part of next year… maybe sooner.” Airlines want to see developed hardware and services that work first, he added.

“We have been talking to airlines for quite some time, so there’s no lack of interest,” Griffin said during the same panel. SpaceX’s Hofeller was cagey when the question turned to him — “What Ben said is correct. People want to see the hardware, they wanna see the constellation, and so we’re driving that hard as fast as we can. When the announcement will be? To be determined. Don’t know. Hopefully sooner rather than later.”

Apple Music’s spatial audio is sometimes amazing but mostly inconsistent

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Late on Monday night, Apple flipped the switch on two new features for its Apple Music subscription service: immersive Dolby Atmos spatial audio and lossless-quality streaming. It feels like the company is really only excited about one of them, though, and it’s not the latter.

Eddy Cue is Apple’s senior vice president of services and the person who oversees Apple Music. He didn’t mince words when he told Billboard that the sudden proliferation of lossless audio isn’t going to significantly evolve or change how we listen to music. “There’s no question it’s not going to be lossless,” he said when asked about what technologies will bring about the “next-gen” of music streaming. Cue firmly stands on the side of the crowd that argues most people can’t hear any difference between CD-quality or hi-res tracks and the AAC or MP3 files that’ve been filling their ears for so long now. He did acknowledge that the higher-bit rate tracks might matter to music lovers with particularly sharp hearing or premium audio equipment, but he was also direct about how niche that group is.

“The reality of lossless is: if you take 100 people and you take a stereo song in lossless and you take a song that’s been in Apple Music that’s compressed, I don’t know if it’s 99 or 98 can’t tell the difference.” Cue revealed that he has regularly done blind tests with the Apple Music team, and they confirm how rare it is for anyone to be able to consistently recognize lossless audio. “You can tell somebody, ‘Oh, you’re listening to a lossless [song],’ and they tell you, ‘Oh, wow. That sounds incredible.’ They’re just saying it because you told them it’s lossless and it sounds like the right thing to say, but you just can’t tell.”

If you go by the message that Cue and Apple are pushing, the Dolby Atmos-powered spatial audio feature is where the true breakthrough is. “When I look at Dolby Atmos, I think it’s going to do for music what HD did for television,” Cue said in the Billboard interview. And then he really went in:

“I think this is going to take over everything. It’s the way I want to listen to music when I’m in my car. It’s going to be the way I listen to music immediately with my AirPods. It’s going to be the way I listen to music in my house. In a way, it won’t feel very good when I’m listening to something that’s not Dolby Atmos because it’s so good. It’s like when I’m watching HD, it’s hard to go back.”

“This requires somebody who’s a sound engineer, and the artist to sit back and listen, and really make the right calls and what the right things to do are,” Cue told Billboard about mixing for spatial audio. “It’s a process that takes time, but it’s worth it.”

Problem is, with much of the Dolby Atmos content on Apple Music I’ve sampled so far, it doesn’t seem like everyone is making those right calls. It’s a hit-or-miss game of exploration, and songs that truly showcase the immersive potential of Atmos are more often the exception than the rule. In many cases, spatial audio tracks have an artificial wideness to them, unfamiliar placement of vocals and instrumentation, and just sound… off. Distant? Too reverb-y? Pick your preferred interpretation. Yet, Apple is so confident in Apple Music’s spatial audio that essentially overnight it became the default for millions of customers listening with AirPods.

But let’s back up a bit.

What is spatial audio supposed to do for music?

In a word, it’s all about immersion. Here’s how Cue hyped it: “it makes you feel like you’re onstage, standing right next to the singer, it makes you feel like you might be to the left of the drummer, to the right of the guitarist.” On its website, Apple says “music created in Dolby Atmos is freed from channels, allowing artists to place individual sounds all around you.”

Whoa there. Like all of Apple’s senior executives, Eddy Cue knows how to pitch something. But if you slap on your AirPods and expect to feel like an invisible person standing in the middle of a recording session, you’ll probably be underwhelmed.

When it’s done well, spatial audio does indeed give music a unique feeling of breadth. And it’s in a different way than a high-end pair of headphones might bring the most out of a stereo track’s soundstage. In particular, vocals often have a very distinct placement in the mix and cut through better than on traditional stereo tracks. That’s the most consistent advantage I’ve noticed with spatial audio music. But because of the different mix, you’ll very likely also pick up on details or sounds that ordinarily don’t stand out in the regular version of a song. And on the best Atmos tracks, everything has a lot more room to breathe.

But when engineers don’t put much care into an Atmos mix, it really shows. Sometimes giving everything so much space can take the impact or crunch out of guitars. Or other aspects of a track fall flat. I’ve included just a few samples below where the spatial audio version of a song is an obvious downgrade from the original. But there are many, and when you hit a few in a row where the vocals sound weird or something’s amiss, it can detract from the listening experience.

How many songs are available in Dolby Atmos spatial audio?

Apple currently isn’t providing a hard number, and is instead only saying that “thousands” of tracks are available with spatial audio at launch, with many more on the way.

How do I know when I’m hearing spatial audio on Apple Music?

You’ll see either a Dolby Atmos or Dolby Audio logo appear on the Now Playing screen beneath the album artwork.

A few random, good examples of Apple Music spatial audio:

“Don’t Know Why” by Norah Jones — This is one where I nearly buy into Cue’s description. Close your eyes, and you could almost transport yourself to a small club where the spread of this mix feels like a live version of Jones’ career-making hit. Stereo doesn’t take you to the same place.

“Paparazzi” by Lady Gaga — With a very surround sound-esque mix (skip to the second verse at 1:23 for the best examples), this is a great example of an old pop hit with an excellent spatial audio treatment.

“Boom” by Tiësto and Sevenn — A fun, lively track that does give off a nice surround sound effect.

“Black Skinhead” by Kanye West — This one is another good example of the “beyond two-channel” openness that spatial audio can provide.

A whole lot of jazz and classical — If there are two genres that naturally lend themselves to spatial audio and Dolby Atmos, it’s jazz and classical. Orchestras can sound truly massive, and it’s a captivating way to listen to jazz ensembles where it’s easy to hear even the quietest notes.

Other examples where it just sounds wrong

“Buddy Holly” by Weezer — The guitars basically lose all life in this mix and vocals dominate the entire thing in a way that just sounds strange and bad. And yet this song is on Apple’s own playlist meant to showcase Atmos.

“Follow Your Arrow” by Kacey Musgraves — Apple mentioned Musgraves as an artist to check out with Atmos. And while her most recent album Golden Hour sounds… fine… her breakthrough Same Trailer Different Park is pretty rough in spatial audio format. “Follow Your Arrow” seems to lose most of its background vocals, and even the main guitar melody is way quieter here than in the regular mix. It almost comes off like a demo recording.

“What’s My Age Again?” by Blink 182 — This is another song that Apple seems to think makes spatial audio sound good, but I’d strongly argue it does the opposite. Mark Hoppus’ muffled vocals legitimately sound like they were recorded through a phone.

“Alex Chilton” by The Replacements — Is that enough cowbell for you during the chorus? It overpowers everything else and makes me feel like I’m in the old Christopher Walken SNL skit, only with a different band.

I’m curious to hear some of your examples that sound great, and others you’ve found that are a disappointment with Atmos.

Do I need AirPods or Beats headphones for Apple Music spatial audio?

No. Apple Music’s spatial audio works on:

All headphones and earbuds
The loudspeakers on supported iPhones, iPads, and Macs
Apple TV 4K

If you set Dolby Atmos to “always on” in settings for the Music app, you’ll see a pop-up advising that it probably won’t sound right on all speakers, but Apple Music will still play the spatial audio mix if that’s your preference. In fact, Apple clearly states that you can “listen on any headphones” to Apple Music’s spatial audio.

How do I turn off Apple Music spatial audio if I don’t like it?

iOS and iPadOS: Go to Settings > Music > Dolby Atmos (under “audio”), and there you can pick between automatic, always on, and off.

If you’d prefer to leave Atmos on by default but want to quickly switch to a regular stereo version of any song that’s playing, just pull down Control Center, press and hold on the volume slider, and toggle off spatial audio. Apple Music will switch over to stereo. If you turn spatial audio back on, you’ll return to the Atmos track.

macOS: In the Music app, open preferences and select the “playback” tab. Halfway down you’ll see an “audio quality” section and Atmos is in there. You get the same three automatic / always on / off choices as on Apple’s mobile devices.

Head tracking is coming to Apple Music spatial audio this fall

Apple Music’s spatial audio is currently much different than the spatial audio experience you get when watching movies and TV shows on an iPhone or iPad. For videos, Apple includes a head-tracking feature that adjusts the sound placement as you turn your head to keep it anchored to the source device. This trick is exclusive to the AirPods lineup, but it’s a very impressive effect.

Apple has said it plans to bring this sound-changes-as-you-turn-your-head feature to Apple Music in the fall — likely with iOS 15.

Is this just a gimmick?

That’s really the question that remains to be answered. But Apple isn’t alone in hyping multidimensional music (nor is it the first to do so). Amazon, Tidal, and others are also increasingly pushing the experience. I recently reviewed an extravagant Sony speaker that positions 360-degree audio as its main selling point.

Are people like Eddy Cue and Zane Lowe right in their insistence that spatial audio will revolutionize how we consume music in the same way that stereo did? Or is this a gimmick like 3D TVs that will fizzle out and be forgotten within a few years? If it’s going to be the former, it’ll take a lot of work and creativity from artists, producers, and mixers to make this format shine.

Because right now, for every Atmos spatial audio track that’s a standout on Apple Music, there are a dozen others that are quite meh — or worse than in stereo. We’re still in the early days, and now that Atmos is officially part of Apple Music, hopefully the consistency will improve. When you do find those mixes where they totally nail it, it’s something special.

Apple should make it easier to switch between Atmos and stereo

But in the meantime, and to avoid turning people off from Atmos when they land on a lackluster mix, Apple Music should make it easier to go back and forth between spatial audio and regular stereo tracks on a per-song basis. One solution could be displaying a choice when you tap on the Dolby icon, similar to the “go to artist / album” options that appear when tapping on an artist’s name.

The pandemic might cut down e-waste but widen the digital divide

We now have evidence that staying home to game or stream and chill during the pandemic was pretty much a first-world problem (or privilege, depending on how you look at it). The proof is in a new report published today by the United Nations University and UN Institute for Training and Research that looks at where drops in electronics sales and associated e-waste took place.

The report looked at electronics consumption in the first few quarters of 2020, and then used that to estimate future e-waste. It projects that worldwide, we’ll have discovered that 4.9 million fewer metric tons of e-waste were generated compared to a “business as usual” scenario without the pandemic. But that drop was uneven across the globe, the authors found. Electronics sales are estimated to have fallen 30 percent in low and middle-income countries, compared to just 5 percent in richer nations.

“The so-called digital divide is increasing,” report co-author Ruediger Kuehr said in a statement. “The ability to adapt to digitisation and earn a living or simply to own and benefit from electronics is decreasing in some parts of the world.” Countries in Northern Africa, Western Asia, Sub-Saharan Africa, and Central Asia will be the hardest hit, according to the report.

On the other hand, high-income countries are projected to be solely responsible for a slight global uptick in game console, cell phone, laptop, and electrical oven purchases last year. In those countries, it seems people did indeed turn to screens (and maybe baking?) to while away their time during pandemic lockdowns.

Tech companies still managed to profit during the hellscape of 2020. Microsoft and Apple raked in the dough from gaming and computers. Samsung made more money last year than it did the year before. Amazon doubled its profit near the onset of the pandemic. And the 2020 lull in tech spending among low and middle-income countries is expected to be temporary.

As more people buy more gadgets, e-waste piles up, and can leach harmful materials like mercury into the environment. E-waste reached a record high in 2019, and just 17 percent was recycled. A lot more can still be done to prolong each gadget’s lifespan, increase recycling, and make companies responsible for collecting the products they generate so that e-waste doesn’t trash the environment, advocates say.

Will Apple end the newsletter boom?

Today, let’s talk about one of Apple’s many announcements this week at its Worldwide Developer Conference, which some see as a possible threat to the rise of journalism distributed by email. If that sounds self-indulgent, given that it’s coming from a journalist who distributes his work via email, I apologize. But it touches on so many of the subjects of interest to us here — a tech giant’s ability to reshape markets to its liking; how journalism will navigate the platform era; what we mean when we talk about privacy — that I hope I can pique your interest at least a little.

I.

Start with the announcement. On Monday at WWDC, Apple announced Mail Privacy Protection, which will limit the amount of data that people who send you emails can collect about you. Here’s how the company describes it:

In the Mail app, Mail Privacy Protection stops senders from using invisible pixels to collect information about the user. The new feature helps users prevent senders from knowing when they open an email, and masks their IP address so it can’t be linked to other online activity or used to determine their location.

When you eventually update your iPhone to iOS 15 this fall, you’ll see a screen at launch that invites you to opt in.

Let’s assume most Apple Mail users opt in. How necessary is this data to building email-based businesses? Over the past day I’ve read and heard lots of disagreement.

Some quick background for the non-email obsessives. Long ago, email marketers began including invisible pixels in the emails they send you; when you open their messages, those pixels load, telling the sender that you read their message, and might also infer your location from your IP address.

Collectively, the percentage of people that actually open emails is known as the open rate, and it’s one of the most important metrics that senders measure to gauge the effectiveness of what they’re doing. It gives you a sense of how engaged your audience is, and how that engagement is changing over time.

At the same time, there is a fairly long tradition of people finding this creepy. The email startup Superhuman had to apologize in 2019 after a viral blog post explained how the company tracked when, where, and how often people opened emails sent through its service. The Markup, a nonprofit newsroom that often focuses on issues of data privacy, turned down eight potential email providers before finding one that would agree to turn off tracking capabilities.

Last year, when Basecamp launched the email service Hey, it made the blocking of tracking pixels a marquee feature. In a blog post today, Basecamp cofounder David Heinemeier Hansson — no fan of Apple in general! — declared victory against tracking pixels. He wrote:

Given Apple’s monopoly advantage with their preinstalled Mail app, we don’t need much of an uptake from what they’re calling Mail Privacy Protection to break the dam on spy pixels. You can’t really say anything authoritatively about open rates if 5-10-30-50% of your recipients are protected against snooping, as you won’t know whether that’s why your spy pixel isn’t tripping, or it’s because they’re just not opening your email.

There’s also simply no way users are going to willingly accept the premise of spy pixels if Apple presents the privacy dangers as clearly and as honestly as we’ve done in HEY. Apple already showed that with their drive to block unique ad identifiers for cross-app tracking in iOS 14.5: 96% of users in the US have declined to let apps track them like that! And email spy pixels are far worse and much creepier.

II.

Let’s stipulate a few things up front. One, most people still don’t know that these spy pixels exist. Two, if they did, most people probably wouldn’t allow them if given the choice. Three, the majority of these spy pixels are used for marketing purposes — efforts to target you better for e-commerce. I do not think it is at all irrational to look at the state of affairs the way Apple did, and say to hell with it.

At the same time, email-based publishing has been of the few bright spots for journalism in recent years. (Certainly it has been a bright spot for me!) Media companies from Facebook to Twitter to the New York Times are now investing heavily in newsletter strategies; new email-based publishers are popping up seemingly every week. Much of this has come in the wake of the success of Substack, which I use to publish Platformer (see disclosure).

And so it’s no surprise that some observers look at Mail Privacy Protection and see a threat. “This is another sign that Apple’s war against targeted advertising isn’t just about screwing Facebook,” Joshua Benton wrote in Nieman Lab. “They’re also coming for your Substack.”

Benton brings some powerful numbers to buttress his worries: “The most recent market-share numbers from Litmus, for May 2021, 93.5% of all email opens on phones come in Apple Mail on iPhones or iPads,” he writes. “On desktop, Apple Mail on Mac is responsible for 58.4% of all email opens.”

It seems clear that Apple’s move to cut off granular customer data from email senders will affect the email economy. But after conversations with newsletter writers and media executives today, I’m not sure that people doing email-based journalism have all that much to worry about from the shift.

“The advertising industry has addicted itself to tracking, prioritizing bottom of the funnel metrics at the expense of great content and creative. It’s tragic,” said Alex Kantrowitz, author of the free, ad-supported newsletter Big Technology. (He previously covered the industry for Ad Age.) “And it’s why people hate advertising and ad companies.”

Kantrowitz told me that his ad inventory was sold out for the first half of the year, thanks to a premium audience he identified not by pixel-based tracking but by a good old-fashioned reader survey. (The Markup, too, has used reader surveys to build a picture of its user base.)

“Pixel blocking makes placements like this more valuable and gives quality email newsletters a leg up on the junk clogging most people’s inboxes,” Kantrowitz said.

For ad-based newsletters, then, Mail Privacy Protection is likely to spur publishers to find other ways to understand their audiences. But what about paid newsletters, like the one this column is syndicated from?

Apple’s move may affect reader-supported newsletters even less, publishing industry executives told me today. Writers can triangulate reader engagement by plenty of metrics that are still available to them, including the views their stories get on the web, the overall growth of their mailing list, and — most meaningful of all — the growth of their revenue.

The media business changes so quickly that I don’t find it at all irrational to read about a move like the one Apple made this week and assume it will be bad for journalism. But in this case, it mostly strikes me as a false alarm. There are any number of changes that major email providers including Apple, Google, and Microsoft could make that would make life more difficult for newsletter-based businesses. In the end, though, I don’t think blocking spy pixels is one of them.

III.

All that said, I can’t end without pointing out the ways in which Apple itself benefits from cracking down on email data collection. The first one is obvious: it further burnishes the company’s privacy credentials, part of an ongoing and incredibly successful public-relations campaign to build user trust during a time of collapsing faith in institutions.

Taken together, the numerous iOS 15 features focused on user privacy combine to place more pressure on the digital ad ecosystem. Perhaps most notably, “Private Relay” — available to paying subscribers of Apple’s iCloud+ service — will encrypt all traffic leaving a user’s device, making them harder for advertisers to track.

One of my more cynical friends views all this as a way to funnel more businesses to building apps, offering in-app purchases, and promoting them with Apple’s advertising products. Marketing emails not working as well as they used to? Sounds like it’s time to buy some keywords in the App Store!

And what of creators who want to move away from the ad model? Apple will be there, ready and waiting to take a 30 percent cut of Twitter Super Follows, paid podcasts, and ticketed Facebook events.

It’s sometimes said that Amazon’s ultimate goal is to take a cut of all economic activity. Looking at Apple’s privacy moves this week, I’m mostly willing to take them at face value — as a necessary counter-balance to the inexorable rise of tracking technologies around the web. But it also seems clear that the value to Apple goes far beyond customer satisfaction — and as its revenues from ads and in-app purchases grow, we’d do well to keep an eye on how its policies are gradually reshaping the economy.

This column was co-published with Platformer, a daily newsletter about Big Tech and democracy.

Senate approves billions for US semiconductor manufacturing

After months of political jockeying and procedural hurdles, the Senate approved a massive science and technology bill Tuesday to boost US competitiveness with China. The bill invests billions into emerging technology industries like artificial intelligence, semiconductors, and quantum computing in the US.

The bill — titled the US Innovation and Competition Act or USICA — builds off a previous proposal from Senate Majority Leader Chuck Schumer (D-NY) called the Endless Frontier Act. Endless Frontier was lauded as one of the first big bipartisan bills to come from the Biden administration. But over the last few months, the bill, which was seen as a must-pass piece of legislation for both parties, was bloated with political mush and much of the original funding was watered down as it moved through the Senate process.

In its current form, the bill provides $52 billion for domestic semiconductor manufacturing, as well as a 30 percent boost in funding for the National Science Foundation and $29 billion for a new science directorate to focus on applied sciences.

“Whoever wins the race to the technologies of the future will be the global economic leader,” Schumer said in a tweet on Tuesday. “We must invest in science, R&D, manufacturing, and innovation.”

The Endless Frontier Act was originally intended to provide $100 billion in funding for a new science directorate at the National Science Foundation to promote research in emerging tech fields. It would dole out billions to regions all across the country to build out new tech hubs and encourage tech companies to find homes outside of Silicon Valley and the coasts.

Last month, the package appeared to be doomed as Republicans withheld their votes to end debate on the bill. Hours after the initial cloture vote was called, Schumer reached an agreement with Republicans to hold votes on parts of the bill they were contesting the following week. Specifically, Republicans were concerned with language in the bill that would require a prevailing wage for semiconductor manufacturers in the US. On Tuesday, an amendment to strike that language was shot down.

In March, President Joe Biden put out his sweeping infrastructure package known as the American Jobs Plan. The original $2 trillion plan contained funding for broadband expansion, roads, highways, and called for $50 billion for domestic semiconductor manufacturing. Tuesday’s vote in the Senate marks the next step in achieving parts of the administration’s infrastructure goals.

Earlier this year, Biden signed an executive order to combat growing concerns over a global semiconductor shortage. The order called for a 100-day government review of supply chains to address shortfalls in acquiring chips. That review was published Tuesday, and the White House launched a new task force to address these supply chain disruptions.

Tuesday’s USICA approval also provides $10 billion to reshape cities and regions across the US into “technology hubs,” focusing on research and development into cutting-edge industries and creating new, well-paying tech jobs outside of the coasts. The funds will go to the Commerce Department and cities will be able to pitch the government on why it should be on the receiving end of these funds.

“This is certainly a welcome injection of resources,” Mike Wallace, legislative director for human development at the National League of Cities, told The Verge last week. “These are funds that will help local officials, but all stakeholders, think about economic mobility in a regional way.”

USICA faced criticism not only from Republicans, but from progressives like Sen. Bernie Sanders (I-VT). Sanders initially voted to tank the competition bill last month over what he called a “multi-billion dollar Bezos Bailout” that would authorize $10 billion for the Amazon CEO’s space venture, Blue Origin, to participate in NASA’s next Moon mission, codenamed “Project Artemis.” Sanders also attempted to negotiate language in the bill that would give the federal government equity interest in exchange for semiconductor grants and aid.

The package still needs to move through the House before President Biden can sign it into law. On Tuesday, Schumer said that he was “quite certain that we will get a really good product on the president’s desk,” but it’s unclear how long that will take or if the bill will change further.

Sony WF-1000XM4

Our Verdict

You won’t find many true wireless earbuds that come close to matching the all-round brilliance of the Sony WF-1000XM4

For

Clear, detailed bass performance
Wonderful sense of musicality
Comfortable
Class-leading battery life

Against

Missing Sony’s Multipoint feature
Lacking ear tip choices
No aptX HD

How do you improve on arguably the best all-round true wireless earbuds on the market? Sony has gone back to the drawing board and designed a brand new pair that look nothing like their predecessors – and the result is the WF-1000XM4. Is it a brave move? Definitely. Crazy? Quite possibly.

Sony’s WF-1000X range of wireless earbuds has been a dominant force in this category over the last few years, and the last pair to emerge from its stable, the WF-1000XM3, are two-time What Hi-Fi? Award-winners.

But instead of making the odd refinement here and there, Sony’s engineers have gone to town on the WF-1000XM4 with an all-new design, a new charging case and a new audio processor. They have even found time to develop a new eartip material, which here is appearing on a pair of Sony earbuds for the first time. What could possibly go wrong?

Luckily for Sony, very little does. In fact, the WF-1000XM4 are one of the most feature-packed, user-friendly and sonically gifted pair of wireless earbuds we’ve tested.

Pricing

Unsurprisingly, the Sonys sit at the premium end of the market, coming in at £250 ($280, AU$500). That places them right in the firing line of other five-star rivals such as the Sennheiser Momentum True Wireless 2 (£279, $299, AU$499), Bose QuietComfort Earbuds (£249, $280, AU$399) and, of course, the Apple AirPods Pro, which at the time of writing range in price between £199 ($199, AU$300) and £249 ($249, AU$329).

Build

(Image credit: Sony)

Your initial contact with the WF-1000XM4 is a surprising one. Sony has ditched the usual glossy box for recycled packaging made from a special blend of paper. This makes for a more compact box (34 per cent smaller than the WF-1000XM3’s), and one that’s plastic-free. That’s great news for the environment, though it doesn’t really give off the vibe that you’ve just bought a pair of premium noise-cancelling headphones.

Sony WF-1000XM4 tech specs

(Image credit: Sony)

Bluetooth version 5.2

Noise-cancelling Yes

Battery life 8 hours (BT + ANC), 24 hours (total)

Voice control Google Assistant, Amazon Alexa

Finishes x2

Weight 7.3g (x2)

Once you’ve liberated the WF-1000XM4 from their packaging, you’re greeted by a small, black charging case. It’s smaller than the case that comes with the Bose Quiet Comfort Earbuds, and positively tiny (40 per cent smaller) compared with the charging case that comes with their predecessors.

The case charges via USB-C and also introduces wireless charging to the WF-1000X range for the first time – all you need is a compatible Qi charging pad. You can even battery share with compatible smartphones and piggyback off their power supply, too.

You shouldn’t have to worry too much about the battery life. Sony’s new buds might come with a smaller case, but the XM4’s battery life is actually up compared with the XM3. You now get eight hours of play from the earbuds with noise-cancelling and Bluetooth turned on, and Sony claims the case can supply a further 16 hours of charge. That places their battery life from a single charge above all major rivals. The AirPods Pro can only manage five hours, the Sennheiser Momentum True Wireless seven hours and the Bose QuietComfort Earbuds six hours. Turn off noise-cancelling and the Sony’s life is extended to 12 hours from a single charge and 24 hours with the case. A five-minute quick charge is good for one hour of playtime, too.

You can see the life remaining in both the buds and the case through Sony’s Headphones Connect app, which will also give you a reminder when the case drops below 30 per cent charge.

As with all wireless earbuds, battery life can vary due to a number of different factors, such as the quality of files you’re listening to, how hard the internal processor is working, and the volume you’re listening at. During our testing, we found the battery life consistently good enough to get us through a day of mixed use.

Comfort

(Image credit: Sony)

Flip open the magnetic case and you’ll see the all-new earbud design of the WF-1000XM4. Based on a combination of customer feedback about the XM3 and research about the human ear, Sony has settled on a rounder body that sits more inside the ear opening.

The matte finish on each earbud gives the headphones a premium feel, while the small accents around the microphone and sensor holes add a tiny splash of colour. Speaking of colour, the XM4 come in a choice of black or silver.

If you want your XM4 to double as sports or running headphones you’ll be pleased to know they boast an IPX4 rating, making them resistant to “splashing from any angle” – a big improvement on the old model.

Besides the new-look earpieces, the XM4 also have brand new eartips. Made from polyurethane, which feels like a cross between silicone and foam, Sony claims they help secure a tighter, more stable fit. The thousands of tiny bubbles in the tips are also supposed to help reduce and dissipate noise.

The only downside here is that you only get a single set of small, medium and large-sized tips to choose from. Sony says you will get years of use out of one pair, and naturally extra tips should be available to purchase if you need them.

We don’t have any major problems sliding the earbuds in and twisting them into place. If you are struggling for a seal, you can pinch the tips and slide them into your ear canal, until they expand. We find they sit snugly in your ear opening, but they are comfortable over longer listening sessions.

To make sure you have the perfect fit, Sony has introduced a new air-tightness test, accessible through its Headphones Connect app. The app fires out a test tone and reports back on whether or not you need to make any adjustments. It’s worth trying out, especially if you feel the sound is lacking bass or there is outside noise leaking in.

In fact, we’d recommend installing the Headphones Connect app when you first connect the XM4. It gives you direct access to all the key features and functions of the earbuds so you can choose which ones to enable and disable. It also helps you get set up for listening to music in Sony’s 360 Reality Audio format from compatible streaming services such as Tidal and Deezer.

Features

(Image credit: Sony)

The circular outer surface of each earpiece is a touchpad and, by using the Headphones Connect app, you can customise the functionality of each one. They can control volume and playback or switch between noise-cancelling and ambient sound modes through the usual combination of taps, presses and long holds – and the headphones are quick to respond to these actions. Switching between sound modes, changing volume and activating and deactivating features such as Quick Attention (which drops the volume of what you’re listening to, so you can have a quick conversation without having to remove the earbuds from your ears) happen with minimal fuss.

The Sony WF-1000XM4 borrow the Speak-to-Chat function that debuted in the WH-1000XM4 wireless headphones. This feature allows you to talk to someone while the earbuds are still in place and is triggered when you start talking. It works well, although as is the case with the over-ears, it’s only triggered a second or so after you start talking.

This slight delay can be frustrating, as can the tendency for the feature to be triggered by a cough or an impromptu karaoke session while sat at your desk. You can reduce the sensitivity of the feature, or you can turn it off completely and either use Quick Attention or remove an earbud completely (which pauses playback automatically).

On the inside of the XM4 is plenty of new technology. The earbuds feature an improved DAC and analogue amplifier and are powered by a new Integrated Processor V1. Sony claims it provides a clearer sound and even better noise-cancelling than their predecessor. The new model also gets Sony’s DSEE Extreme audio processor with Edge-AI, which we have already experienced in the WH-1000XM4 over-ear headphones, and is designed to upscale low-bitrate music files to near hi-res quality.

The 6mm driver used inside the XM4 is similar in size to the one used in the previous model, but it’s made from a new material and features a bigger magnet, which Sony claims helps improve sound quality and noise-cancelling, especially with certain low frequencies.

There’s no aptX HD support onboard, but the XM4 support Sony’s LDAC file format, which, streamed over Bluetooth from a compatible source, allows hi-res audio files up to 24-bit/96kHz to be transmitted at data rates of up to 990kbps.

(Image credit: Sony)

Sony has also aimed to deliver clearer call quality with new features, including beam-forming and the use of a bone conduction sensor that stops the mics from picking up distracting ambient sounds while you’re talking. There’s even an automatic wind noise reduction mode which attempts to cut out swirls of noise passing through the headset and into your ears.

All of this works with Sony’s Precise Voice Pickup technology, originally introduced in the WH-1000XM4. The net effect is an impressive call quality for a pair of wireless earbuds. The technologies all combine to do a solid job of dampening down outside noise and interference, especially for the person on the other end of the line.

The general level of noise-cancelling is excellent, especially for a pair of wireless earbuds. Not everyone likes that ‘vacuum’ feeling you get when it’s turned on, but it’s extremely effective through the Sonys and you’ll struggle to find better noise cancellation at this level.

Android users will be pleased to hear the Sonys are compatible with Fast Pair so you can get up and running with minimal fuss. You receive a battery notification pop-up on your smartphone when they power up and you can even track their location down using the Google Find My Device app.

Unfortunately, iOS users don’t get any such pairing perks, but all you need to do to start pairing is open the case and take the headphones out. It’s a shame Sony hasn’t carried across the ‘Multipoint’ feature enabled on the WH-1000XM4 over-ears. This allows you to connect the headphones to two different Bluetooth devices simultaneously, which can come in handy if you’re working on a laptop but still want to be connected to your phone. Here’s hoping it can be added at a later date.

In terms of stability, we use an Apple iPhone 12 and Macbook for the bulk of our testing and find the connection to be rock solid with no dropouts, even in more built-up areas.

Sound

(Image credit: Sony)

Before we get to the WF-1000XM4’s immense musicality and expressive dynamics, we should note the way the headphones handle bass. The quality of bass and the clarity of low frequencies is stunning. There’s such a fantastic level of detail on display that it makes rival headphones, such as the Bose QuietComfort Earbuds, sound congested in comparison.

We’re keen to hear how the earbuds handle one of our favourite bass-heavy test tracks, Massive Attack’s Angel – and we’re blown away by the confidence with which the song is dispatched. Every element of that pulsing bassline is precisely deployed and dripping in texture. It’s the clarity around the notes that really grabs you – it allows the WF-1000XM4 to communicate intricacies in the bass notes that other headphones struggle to uncover.

But it’s not a sound that purely favours low frequencies. There’s clarity across the board and a sense of rhythmic precision that allows the Sony’s to switch pace effortlessly. They sound as at home keeping up with, and succeeding in not being tripped up by, Radiohead’s 15 Step as they are dispatching the slow, deliberate swagger of Nina Simone’s Feeling Good.

Simone’s effortless vocal oozes class and sophistication, with every nuance in her delivery laid bare for the listener. Combine the emotion in her voice with the impact of the piano, percussion and wind section and the Sony’s create a captivating sound you can’t help but be swept away by.

If you were wondering whether the WF-1000XM4 would be a step up from the WF-1000XM3, we can confirm that they are. The newer model sounds more informative and uncovers more subtle detail. Bass notes are better defined and the overall sound is better balanced. Even the much-admired Sennheiser Momentum True Wireless 2 struggle to match the Sonys for tonality and refinement.

You can hear that refinement and natural tone shine through as we listen to Ludovico Einaudi’s Experience. From the delicate, deliberate piano strokes at the start to the soaring strings at the song’s climax, the Sonys bring the individual personalities to life and mix them together like the ingredients of a fine cocktail.

Verdict

We’re quite taken by the Sony WF-1000XM4. Given all the design changes and new features in these wireless earbuds, it must have been a real challenge to get them right. But Sony has absolutely nailed it. The headphones deliver a satisfying user experience, class-leading battery life, some of the best noise-cancelling we’ve heard in this category, and absolutely stunning sound quality. Put simply, this is a new benchmark for premium true wireless earbuds.

SCORES

Sound 5
Comfort 5
Build 5

MORE:

Read our guide to the best in-ear headphones

Read our Bose QuietComfort Earbuds review

Read our Sennheiser Momentum True Wireless 2 review

Read our Apple AirPods Pro review

Read our Sony WF-1000XM3 review

Sony announces WF-1000XM4 noise-canceling earbuds with LDAC and IPX4 water resistance

After a few weeks of leaks, Sony has today formally announced its latest flagship true wireless earbuds. The new WF-1000XM4 earbuds cost $279.99, and the previous WF-1000XM3s, released in 2019, will remain in the company’s lineup at $229.99. The new headphones will be available in either black or light gray — both with gold accenting. They’re available starting today from retailers including Amazon and Best Buy.

Featuring a completely revamped design that’s 10 percent smaller than their predecessors, the 1000XM4 buds also have a new processing chip that results in improved noise cancellation “at all frequencies,” according to Sony.

Image: Sony

Battery life has been upped to eight hours of continuous playback when NC is enabled, which soundly beats competitors like the Apple AirPods Pro, Bose QuietComfort Earbuds, and Samsung Galaxy Buds Pro. The charging case has been significantly downsized and is 40 percent smaller than before. Aside from plugging in over USB-C, it also supports Qi wireless charging.

Sony has also addressed a disappointing omission from the 1000XM3s: these new earbuds are rated IPX4 for water and sweat resistance. The 1000XM4s also have an updated voice call system that uses both beamforming mics and bone conduction sensors to improve performance. But here’s the one standout disappointment: there’s still no support for multipoint Bluetooth connections.

If you’re wondering how all of this shakes out, I’ve been using Sony’s new premium buds for several days. You can read my full review of them right now.

Google Stadia is coming to Google TV and Android TV this month

(Image credit: Google)

The Google Stadia could gaming service is finally branching out to more devices. It will arrive on the excellent Google Chromecast with Google TV streaming dongle on 23rd June, as well as a number of TV sets running the Android TV operating system. And, all you’ll need to enjoy the service is a compatible Bluetooth controller (and a Google Stadia subscription, of course).

Here’s the full list of supported devices, as of 23rd June:

Chromecast with Google TV
Hisense Android Smart TVs (U7G, U8G, U9G)
Nvidia Shield TV
Nvidia Shield TV Pro
Onn FHD Streaming Stick and UHD Streaming Device
Philips 8215, 8505, and OLED 935 / 805 Series Android TVs
Xiaomi MIBOX3 and MIBOX4

If your Android TV isn’t supported, you might be able to sign up for Google’s experimental support – this lets it run on a wider range of devices, though the experience won’t have been optimised, so “not every Android TV OS device will work perfectly”, Google warns. To do so, install the Stadia app from the Google Play Store, and opt in when asked.

Many have seen the lack of Stadia support on Chromecast with Google TV a major oversight – though it didn’t stop the streaming dongle earning five stars in our review – so this wider rollout will be welcome news for many. And as well as adding some much-needed gaming skills to a handful of Android TVs, it makes an already excellent media streamer even better.

MORE:

Read our guide to the best video streamers

Check out the competition: Amazon Fire TV 4K review

Find out how to watch Apple TV on your Android TV device

Amazon’s new Echo Show 8 is a little faster and has a better camera

Amazon’s midsize Echo Show 8 is the best smart display in its lineup. It is larger and more capable than the diminutive Echo Show 5, while costing far less than the larger Echo Show 10. The Echo Show 8 is handy for watching video, listening to music, getting weather reports, controlling smart home devices, making video calls, and more.

So it’s no surprise that the second-generation model, which sells for $129.99 and is shipping this week, doesn’t rock the boat. It’s largely the same smart display as before but with slightly faster performance and an improved video calling camera. It has the same display, same design, same speaker system, and the same set of features as its predecessor.

Improving the video calling capabilities makes sense, given how much video calling has been done while everyone was (and for large part, still is) stuck at home during the pandemic. The new Echo Show 8 borrows the 13-megapixel camera from the flagship Echo Show 10, replacing the pathetically low-resolution, mediocre 1-megapixel camera that was in the first gen. As before, there’s a mechanical privacy shutter you can slide in front of the camera to both disable it and block its view.

The improvements in video calls are immediately noticeable. You can use the Echo Show for video calls to the Alexa app on phones or other Echo Show devices, or you can join Skype, Zoom, or Amazon’s Chime calls from it. In my testing with Zoom calls, the image is much sharper and more pleasant to look at, with better color and much more detail.

The Echo Show 8 doesn’t have the motorized base on the bigger Echo Show 10, but it still can automatically frame you and follow you around as you move thanks to its high resolution. The autoframing isn’t as good as the new iPad Pro’s Center Stage feature, and it moves much slower and tends to constantly reframe itself, like you’re the star of a Ken Burns documentary. But the Echo Show is a $130 smart display, not an $800 tablet, so it’s hard to complain, so long as you stay relatively still during video calls. If you don’t want the camera to autoframe, you can say “Alexa follow off” to disable it.

You can use the Echo Show 8 for Zoom calls, but it works best for one-on-one calling, not groups

That said, there’s still plenty of room for improvement. The new camera has a much wider-angle lens, which allows it to do those auto-framing tricks. But it can also cause the image to look distorted at times and isn’t always very flattering.

The Echo Show 8’s eight-inch display works fine for one-on-one video calls, but it’s too small to comfortably use for a group call. If you are on a call where someone is sharing a screen, it’s hard to see what’s happening, and while you can view messages posted to a chat, you can’t type any out yourself on the Echo Show’s display. Joining Zoom calls can be done entirely by voice, but it’s much easier to call up the Zoom app on the Echo Show by saying “Alexa, open Zoom” and then typing in a meeting code or starting one yourself from the touchscreen.

I also observed an echo of my own voice in several Zoom calls, both with individuals and group calls, which made it hard to use the Echo Show for anything work related. Other parties on the line also said there was an annoying echo of my voice whenever I unmuted my mic. Amazon says it is looking into this problem and I will update this review if a solution is found.

The new processor in the second-gen Echo Show 8 does make the smart display respond quicker to taps and swipes than its predecessor. It’s not a huge difference, and Amazon’s software still has a long way to go to make it more useful via touch, but when compared side by side, the new one opens menus and screens quicker.

Elsewhere, the changes are either nonexistent or very minor. The wedge-shaped design is exactly the same; you can still get it in the same white or black color options as before. (Annoyingly, both colors come with a white power cord.)

The display has the same 1280 x 800 pixel resolution, but now it can adjust its color and white balance to the lighting in the room. Like the new processor, the difference isn’t huge, but the new model is slightly warmer and more pleasant to look at when the adaptive color setting is enabled. I’m still more impressed by the ability of Google’s Nest Hub to mimic the look of a printed photo by adapting its color to the lighting in the room.

The dual-driver speaker system is unchanged and it’s as loud and full sounding as the first gen. The Echo Show 8 can fill a small room with sound surprisingly well, and its bass response is better than expected. At times, it might even sound too bassy, but you can adjust the EQ in the Alexa app easily enough to compensate for that. Unfortunately, Amazon dropped the 3.5mm output jack on the back of the new model, so it’s not possible to hook it up to a larger speaker system with a wire.

You can watch Amazon Prime Video, Hulu, and Netflix on the Echo Show, but Disney Plus, Peacock, HBO Max, and many other streaming services aren’t available. YouTube is available through the Echo Show’s Silk browser, but it’s not as seamless of an experience as available on Google’s Nest Hub, and you can’t easily cast videos from your phone to the Show’s screen.

The Echo Show 8’s software is the same as what debuted on the Echo Show 10 earlier this year. Amazon is starting to make better use of the display, with split screens that show weather data alongside news, but it still feels very much like a voice-first device. Though the new Echo Show 8 is faster, it’s still a chore to tap through all of the screens to get to the smart home controls, and managing what shows up in the rotating information screens on the display requires a lot of menu diving and trial and error to get what you want. (And even then, you’ll still probably get nagged about new Alexa Skills or other Amazon promotions you don’t care about.)

There are of course many, many other things you can do with an Echo Show smart display — far too many to cover in the scope of this review. The things that I find it most useful for are weather reports, managing a grocery shopping list, and viewing the video feed from a doorbell or security camera.

The Echo Show 8’s main competition is the second-gen Nest Hub from Google, which has a slightly smaller seven-inch screen and costs $30 less. The Nest Hub supports more video streaming services, has a more useful touch interface, can track your sleep, and works with the Google Assistant instead of Alexa. But it doesn’t have a camera for video calling, its single speaker is blown away by the Echo Show’s dual speakers, and it’s much slower and laggy to use. Ultimately, the choice comes down to how you want to use the smart display and which smart assistant you prefer.

Facebook’s 10-inch Portal is another option if you plan to use a smart display primarily for video calling, but it loses to the Echo Show 8 in effectively every other aspect.

If you do prefer Alexa, the new Echo Show 8 remains the best smart display to get, as it has a big enough screen to read from across the room, doubles as a great speaker, and comes with a host of camera-related features, including the aforementioned video calling and security camera features. It’s also over $100 less than the motorized Echo Show 10, while still providing many of the same features and capabilities. And given Amazon’s frequent discounts, you’ll likely be able to find the new Echo Show 8 for less than its sticker price quite often.

The new Echo Show 8 doesn’t redefine what a smart display can be, but it’s still a very good virtual assistant with a screen for an attractive price.

Photography by Dan Seifert / The Verge

Huge web outage takes Reddit, Twitch, and other big sites offline for an hour

A huge global web outage swept across the internet this morning, taking out popular sites including Amazon, Twitch, and Reddit. The outages started at around 5:30AM ET, with a large number of sites affected. The Fastly content delivery network (CDN) was the source of the issues, which lasted for more than an hour.

Major news sites like CNN, The New York Times, The Guardian, and the Financial Times were also affected. The Verge was also down for more than an hour, forcing us to head into Google Docs to share the outage news with readers.

Vast chunks of the internet are offline, including The Verge. Until we’re back, we’re reporting to you live out of Google Docs. Here’s what we know so far about the outage: https://t.co/4b1p2qhYif

— The Verge (@verge) June 8, 2021

The issues also affected UK government websites, so British citizens were unable to renew passports, apply for tax allowances, or obtain driving licenses during the outage.

Fastly hasn’t commented fully on the issues other than an outage message on the company’s status page. “The issue has been identified and a fix is being implemented,” said Fastly at 6:44AM ET.