English soccer teams and organizations are all shutting down their Facebook, Twitter, and Instagram accounts for the weekend as part of a massive social media blackout to advocate for better policies regarding discrimination and abuse that players and members of clubs receive on those platforms.
English football will unite for a social media boycott from 3pm on Friday 30 April to 11:59pm on Monday 3 May, in response to the ongoing and sustained discriminatory abuse received online by players and many others connected to the game.https://t.co/GYTAuWAEgN pic.twitter.com/dNLuv62nw5
— FA Spokesperson (@FAspokesperson) April 24, 2021
Groups participating in the blackout include the Premier League, the English Football League, the Professional Footballers’ Association, the Football Association, the League Managers Association, the Football Supporters’ Association, and more. Clubs that are part of the Premier League, EFL, Barclays FA Women’s Super League, and Women’s Championship will all be shutting down their social channels over the weekend as part of the protest.
The blackout comes after the various English soccer organizations banded together in February to request changes from Facebook CEO Mark Zuckerberg and Twitter CEO Jack Dorsey in an open letter requesting that the companies take stronger action against discriminatory and racist comments.
Specifically, the soccer groups advocated for four improvements: that posts be blocked or filtered if they contain racist or discriminatory material; that abusive posts be removed through “robust, transparent, and swift measures”; the addition of improved verification processes to allow for law enforcement to identify users and to stop abusive posters from making new accounts; and that the platforms work closer with law enforcement groups to identify people posting discriminatory content in cases where it breaks the law.
The leagues hope this weekend’s boycott will build on that movement, noting that while progress has been made, players, teams, and other members of the English football world still feel that there’s a lot more that Facebook and Twitter could do to help stop internet abuse.
Virtual worlds have long been a place to escape. That was true before the pandemic, but lockdowns and stay-at-home orders across the world certainly accelerated the phenomenon. I spent an embarrassing amount of time last year gardening in Animal Crossing and going to concerts in Fortnite. They were great distractions, but never really gave that vacation-like escape I was truly searching for — turns out what I needed was a safari full of Squirtles.
New Pokémon Snap launches this week as the long-awaited sequel to a fan-favorite Nintendo 64 game from 1999. The premise remains the same: you, a budding wildlife photographer, traverse beautiful landscapes while snapping photos of every critter you can find. At its core the concept is incredibly simple, but — much like Pokémon Go — it’s a form of wish fulfillment. It takes out the battling and complex roleplaying elements that drive the main Pokémon games and instead just lets you be a part of this world, at your own pace, and without the threat of failure.
There is a story, but it’s pretty simple. At the outset, you join a research expedition exploring the new Lental region, and naturally they need some help documenting the wildlife. The Lental region is actually a string of islands with a surprising amount of biodiversity. You start out in a fairly run-of-the-mill wildlife preserve, but eventually you’ll be riding a sort of futuristic, enclosed hovercraft through deserts, beaches, volcanic trails, and even underwater. In many cases, you’ll be able to see the areas during both day and night, giving you a better understanding of how the animals behave.
You move through these environments on rails, as if you were on a ride at a particularly cool amusement park, and view the world through the lens of your camera. The main goal is to take pictures. Each area is teeming with creatures: birds soaring through the air, bugs digging through the sand, Machamps flexing for anyone who happens to be looking. The most impressive part might just be the density. There are pokémon seemingly everywhere, just waiting for the right moment to pop out and reveal themselves.
The goal is to catalog as many creatures as you can. Just like in the main games, you have a pokédex of sorts, only this time you fill it out by photographing monsters. You’re supposed to capture them in different poses, and at the end of each level a professor will rate each photo based on things like framing, pose, and whether there are any other creatures in the shot. Outside of your camera, you have a few ways to interact with the world. You can toss out berries to feed pokémon (or annoy sleeping ones), play a lullaby to get their attention, or scan your surroundings to center on points of interest. There are also bonus quests that ask you to capture very specific images — like a sleeping Arbok falling out of a tree, or a yawning Torterra — for extra points. As your overall score increases, you’ll unlock new areas.
But your most important tool is careful observation. And that’s because New Pokémon Snap is a game largely built on repetition. You’ll be traveling through the same areas many, many times in search of new things. There are twists — you may get a new tool, and some levels have multiple pathways — but actually getting good photos requires a lot of time, patience, and experimentation. You might have to keep your camera trained on a soaring Wingull in hopes it does a loop-de-loop, or try multiple tactics to get a Magikarp to do, well, anything. Sometimes I would toss berries at everything just to see what happened. (Mostly it resulted in some adorably angry pokémon faces.)
Initially this process felt tedious, particularly early on, when there were only two spaces for me to explore. It was almost boring, like riding the same slow rollercoaster over and over. But this feeling changed when I started looking closer. It was amazing how many creatures I missed the first (or tenth) time I went through a level. But when I looked closely, there they were, hiding in shrubs or in undersea caves. Sometimes if I watched for long enough, I could see pokémon fighting or cuddling together for warmth. The more time I spent in these places the more I started to notice the fine details — and the more I wanted to search out even more.
Snap also does a great job of creating spectacle. Those quiet moments are punctuated by the shock of a giant Wailord rising out of the sea in front of you, or the joy of spotting a flock of cute Squirtles just hanging out on a beach. It’s enough to make me long for a Pokémon game in VR.
This is helped by the fact that Snap moves at a leisurely place. There are some photos where you have to react quickly, but if you miss the shot, you can always try again. There’s no penalty for failure; bad photos are simply discarded. The emphasis is on celebrating your triumphs. When I couldn’t figure out how to capture the photo I needed to progress, I did run into a few roadblocks, which were frustrating. But generally Snap is a game that rewards curiosity and does little to punish players for not following the rules.
(It should also be noted that one of Pokémon Snap’s most intriguing features wasn’t available to test ahead of launch. The game includes an Instagram-like photo sharing mode, where you can add filters, stickers, and borders to your images and then share them online with others. It’s a feature that could add a new social element to the series, but I haven’t been able to test it yet.)
Really, New Pokémon Snap is a game that forced me to change the way I think about virtual spaces. Decades of playing games have conditioned me to race through levels, checking off a to-do list of accomplishments as efficiently as possible. But that doesn’t work here. I had to slow down and watch carefully, focusing on the small details as well as the big moments. I had to relax to enjoy the view — and it’s exactly what I needed.
New Pokémon Snap is available on the Nintendo Switch on April 30th.
If you’re a Samsung fan — or just curious about what the manufacturer means when it announces that “the most powerful Galaxy is coming” — then you may want to drop in on today’s Galaxy Unpacked event 10AM ET / 7AM PT.
There isn’t a lot of info out there about what’s in store. But those who have been following Samsung can made a few educated guesses. These include the possibility of a new line of Galaxy Book laptops — a line that is certainly due for a refresh, since the last models were first announced in 2019. Other rumors include new Galaxy Book Pro laptops with 13.3-inch and 15.6-inch OLED panels, and S-Pen support.
Want to be the first to find out for sure? We’ll stream it above, so feel free to stick around, but there are other ways to watch it as well.
WHAT TIME IS THE “SAMSUNG UNPACKED” EVENT?
You can tune into the live stream, which starts at 10AM ET / 7AM PT today, Wednesday, April 28th. The event will likely be available to watch again after it concludes, so you’re not stuck if you miss out on the debut stream.
WHERE CAN I WATCH THE SAMSUNG EVENT?
You can watch it at the top of this article; in addition, Samsung is hosting the stream on its site and it’s streaming on YouTube.
Follow @verge on Twitter
Keep an eye on @verge on Instagram for live updates
Ever mysteriously lost a job opportunity? Did they treat you like a criminal? Better check to see if your family forgot to return a VHS tape 22 years ago!
As utterly ridiculous as that sounds, it’s apparently the true story of Texas woman Caron McBride, who had a warrant out for her arrest in Oklahoma for felony embezzlement — all because a movie store thought she rented a copy of Sabrina and the Teenage Witch in 1999 and never bothered to bring it back. Never mind that the store in question (“Movie Place”) closed in 2008, or that VHS is such a dated tech that even the last Japanese manufacturer finally stopped producing the players five years back.
McBride told local Fox News affiliate KOKH (via Gizmodo) that she had no idea this tape even existed and never would have picked it — “just not my cup of tea” — but thinks maybe a man she used to live with at the time could have rented it for his two kids. She only found out about the out-of-state warrant when she tried to change the name on her driver’s license after getting married in Texas.
“She told me it was over the VHS tape and I had to make her repeat it because I thought, this is insane. This girl is kidding me, right? She wasn’t kidding,” McBride told KOKH.
She also told the publication she’d been let go from several jobs over the past few years and suspects this was the reason: “When they ran my criminal background check, all they’re seeing is those two words: felony embezzlement.”
While the warrant has now reportedly been dropped and her record may soon be expunged, it wouldn’t have been totally surprising if she’d actually gotten arrested over the tape: a man in North Carolina got arrested for an overdue VHS rental in 2016.
The New York Timesadmirably reached out to the world’s last remaining Blockbuster video rental store for comment about McBride and got one: “We’ve definitely not sent out a warrant for anybody for that,” said manager Sandi Harding. “That’s a little bit crazy to me.”
McBride’s plight reached the cast of Sabrinaand the Teenage Witch after star Melissa Joan Hart shared it on Instagram. You can read more cast members’ thoughts in the comments there.
Doctors, hospital owners, journalists, and other Twitter users in India have been tweeting and amplifying pleas for oxygen supplies on social platforms out of desperation, as new coronavirus cases and deaths there hit record highs. Oxygen supplies are at critical low levels in India, and some hospitals are overwhelmed with patients suffering from COVID-19.
Using hashtags like #CovidSOS and #COVIDEmergency2021, many in India are seeking ICU beds, oxygen, and plasma, and others have tried to direct those in need to suppliers. Groups on WhatsApp and Facebook have been inundated with posts from people in need of ICU beds, oxygen, and other supplies, as organizations like HumanKind Global try to track down leads to help them.
“Not only there is lack of oxygen supply for those who can’t get medical aid in a hospital, the hospitals too are scurrying for oxygen,” journalist Abhishek Baxi wrote in an email to The Verge. Over the past several days, Baxi said, pleas for oxygen supplies on Twitter have increased “because they’ve not had any response from the authorities. There are updates on news channels about X hospital left with only few hours of oxygen or Y hospital optimizing supply to patients because they’ve got only 2 hours of oxygen supply left. These hospitals, their hands tied, have requested patients to go elsewhere – something not possible in a city where all hospitals are bursting at the seams.”
On Saturday, 20 patients died in a hospital in New Delhi due to depleted oxygen supply, the Hindustan Times reported.
India is reeling from a second wave of COVID-19 cases. According to the Johns Hopkins coronavirus resource center, India reported 349,691 new cases on Saturday, a new record. The country reported 2,767 deaths from COVID-19 on Saturday, also a new record. Less than 1.6 percent of the country’s population has been fully vaccinated, the Johns Hopkins data show.
The New York Times reported that the situation may be even more dire than the numbers suggest, with officials in India downplaying or overlooking COVID-19 deaths. And at the Indian government’s demand, Twitter censored more than 50 posts critical of the government’s handling of the latest coronavirus surge, so the tweets were not visible within India. The Times reported that the Indian government had ordered posts removed from Facebook and Instagram as well.
Model and actress Emily Ratajkowski is selling a link representing a composite image that features a photograph of herself in front of a print by another artist that contains a photo (of herself) taken by (presumably) yet another artist. In other words, she is selling an NFT.
The New York Times reports that Ratajkowski will be selling the NFT at Christie’s, the storied auction house that sold Beeple’s NFT for $69 million in March. The NFT is, for Ratajkowski, an effort to reclaim images of herself that have been created and sold, sometimes without her permission, throughout her career. Last year, Ratajkowski published an essay in The Cutdescribing moments when she was unable to control often vulnerable images of herself.
“As somebody who has built a career off of sharing my image, so many times — even though that’s my livelihood — it’s taken from me and then somebody else profits off of,” Ratajkowski told The New York Times. The NFT, titled “Buying Myself Back: A Model for Redistribution,” is meant to let Ratajkowski profit directly, continually, and significantly off of works containing her image that she did not previously have much (or any) stake in.
The NFT, also, is a copyright nightmare, much like many of the images that Ratajkowski described grappling with throughout her career. To break down the situation at hand:
There is the NFT. An NFT contains, essentially, just a link, but the terms of sale imply ownership over whatever the NFT links to. Ratajkowski can definitively sell a link. Is she really selling the underlying image? Are all NFTs a sham? Further study is needed.
The composite artwork being NFT-ized contains two discrete images: the first is a photo of Ratajkowski in her apartment, the second is (what appears to be) a digital copy of a “painting” by Richard Prince. Someone owns the foreground photo of Ratajkowski in her apartment (possibly the photographer, possibly Ratajkowski herself). Ratajkowski owns a physical copy of the painting by Richard Prince, but she likely does not own rights to digitally reproduce it.
The Richard Prince painting is itself a copyright nightmare. It is a print of an Instagram post by Ratajkowski, which features a photo of Ratajkowski taken for Sports Illustrated, as well as a profile photo of Ratajkowski (possibly a selfie?) and comments written by other viewers of the photo. Richard Prince almost certainly did not get permission to use either of the photos or the comments included in his painting. Is the font copyright protected, too? Please help me.
This is an entire bullet point just to mention that Richard Prince’s entire thing as an artist is transforming other artists’ work, sometimes in fascinating ways, other times in really gimmicky ways, and seemingly always in ways that inevitably piss people off because he ends up making a ton of money off of minor alternations to someone else’s art. This approach has resulted in many complaints and lawsuits, which have mostly worked out in Prince’s favor, insofar as he has continued to work and make a lot of money.
Ratajkowski is trolling Richard Prince by stealing his move, transforming his own work (a transformation of her), and reselling it (seemingly without his permission). Honestly, good work here.
If we’re counting: there seem to be at least four images within this single image. We can reasonably assume that Ratajkowski owns two of them (the core photo of herself, plus her profile picture inside the Richard Prince painting). Richard Prince owns one of them (although that could be litigated). And Sports Illustrated and/or a photographer associated with Sports Illustrated presumably owns the final image.
You’ve gotta assume Richard Prince isn’t suing over this.
Ratajkowski has become, perhaps by necessity, a consistent proponent for allowing transformative use of photographs. In a lawsuit over a paparazzo’s photo she posted to her Instagram Story with a caption over top of it, Ratajkowski has argued that her amendment to the photograph should qualify her work for fair use protections. (This is, of course, the same general argument that Richard Prince makes about his work. It’s messy!) A similar, albeit more deliberate, situation is at play here.
More broadly, Ratajkowski seems to be pushing for a rethinking of copyright law that would give subjects more control over how their images are displayed and who profits off of them.
Maybe none of this matters anyway because, again, what even is an NFT?
Ratajkowski will receive a cut every time her NFT is resold, therefore giving herself some degree of continued ownership over her image(s).
The digital terrain should be a place where women can share their likeness as they choose, controlling the usage of their image and receiving whatever potential capital attached. Instead, the internet has more frequently served as a space where others exploit and distribute image
— Emily Ratajkowski (@emrata) April 23, 2021
And here’s the wonderful thing about doing this all on the blockchain and other distributed networks: say copyright law comes crashing down on Ratajkowski, say the profits are taken from her and she’s ordered to stop marketing the NFT and reposting the image in the future — there’s still nothing anyone can do to wipe out the image. It’ll still be linked on the blockchain and hosted on a distributed network where she wanted it.
If you’re like me, you spend a little too much time on a few websites, particularly social media sites. Try as you might to avoid them, you find yourself unconsciously typing in Facebook, Reddit, or something else into your search bar. There are a ton of browser extensions, desktop apps, and router rules you can configure to help, but I wanted something more physical.
This project uses light switches and an at-home DNS server running on a Raspberry Pi Zero to turn on or off access to specific websites. If I want access to a site I have blocked, I need to physically get up and turn off the switch — something that’s slightly more difficult than turning off a browser extension.
What You’ll Need To Make A Website Off Switch
Raspberry Pi Zero W, SD Card, and Power Supply
Two single-pole light switches
A PVC double-gang switch box
A plastic 2-toggle switch plate
Four male-female jumper wires
Phillips and flathead screwdrivers
How to Build a Website Off Switch With a Raspberry Pi
1. Set up your Raspberry PiZero W and connect to it remotely. If you don’t know how, see our tutorial on how to set up a headless Raspberry Pi.
2. Update and Install git if not already installed.
4. Run the installation command from within the newly cloned directory. This will take care of installing all base dependencies, installing the dnsmasq tool, and ensuring it’s running.
cd internet_kill_switch
make install
5. Ensure dnsmasq is running by entering the following command. To exit, use Ctrl + C. You should see status “Running” in green.
sudo systemctl status dnsmasq
# Use Ctrl + C to exit
6. Try running the software to ensure everything works accordingly. You should see a few log messages with no errors. Exit the software with Ctrl + C.
make run
# Use Ctrl + C to exit
7. Wire the male end of each jumper cable to the switches. You should be able to tuck the pin under the screw and tighten it until it’s snug. These switches are designed for high AC voltage, but will work just the same for our project.
8. Attach the female end of the jumper cables to the Raspberry Pi. Pin order doesn’t matter, as long as one end of the switch goes to a GPIO pin, and the other goes to a ground pin. The default code expects GPIO (BCM) pins 18 and 24, though this is configurable.
9. Tuck the raspberry pi into the PVC double-gang switch box, and affix it to the back with hot glue.
10. Run the power cable through the switch box inlet, and connect it to the Raspberry Pi.
11. Attach both switches to the switch box using the screws they came with.
12. Place the switch plate on top of the switches, and attach it with the screws it came with.
13. Label which switch belongs to which site. Keep track of which switch is attached to which pin.
14. Open the src/toggle_switches.py file for editing.
cd src/
nano toggle_switches.py
15. Modify toggle_switches.py to list the websites you want to block for each switch. You can add or remove switches by modifying the SWITCHES list, and adding new objects of the class SwitchConfig. The accepted parameters are the BCM pin number, followed by a list of sites to block.
# Example: The switch connected to BCM pin 18 blocks social media, and the switch connected to BCM pin 24 blocks video websites
SWITCHES = [
SwitchConfig(18, ['facebook.com', 'instagram.com']),
SwitchConfig(24, ['netflix.com', 'youtube.com', 'vimeo.com']),
]
16. Run the application to test it, and make note of the IP address it prints out when starting – that’s the IP address of your Pi.
cd ~/internet_kill_switch
make run
# IP Address is 10.0.0.25
17. Configure your DNS servers on your computer with that IP address. I’m configuring mine in System Preferences > Network of my MacBook, but you can also configure it at the router level.
18. Test the switches on the machine that now uses your Pi as a DNS server – in my case, my MacBook. With the switches in the off position, you should be able to access websites freely. Once you flip the switches to the on position, after a short delay, you should receive a network error when trying to visit that website.
19. To confirm, use the following command on your computer, substituting google.com with the site you’ve chosen to block:
# When the switch is off
dig +short google.com
172.217.164.238
# When the switch is on
dig +short google.com
127.0.0.1
20. Edit your /etc/rc.local file to include the following line, so this software runs when your Pi reboots.
sudo nano /etc/rc.local
# Add this line before the very last line
cd /home/pi/internet_kill_switch/src && sudo ../env/bin/python app.py &
21. Mount your switches. If you would like to put this switchbox on the wall, you’ll have to find a place to mount it that’s close to an outlet so you can power the Pi. Alternatively, you can just leave the switchbox on a table or shelf somewhere.
Enjoy, and if ever you’re not able to load websites, try removing the Pi’s IP address from your DNS servers – there’s likely a problem.
Oculus is beginning to roll out redesigned avatars that are more expressive and customizable than those that launched in 2016. They’ll appear starting today in just a few games for the Quest VR platform, including Epic Roller Coasters, PokerStarsVR, and Topgolf with Pro Putt. Soon, they’ll appear in Synth Riders, and later in the year, a new game called ForeVR Bowling will feature them.
The avatars launching today, starting with those few select games, seem far more fleshed out. They’ll have legs in the editor, for one (though they won’t yet appear on your avatar in VR). The new avatar editor apparently allows for a quintillion possible combinations of hair, eyes, body type, facial hair, piercings, clothing, and other features. There’s no gender toggle, nor are there a pre-baked batch of face presets. Instead, the editor lets you dive into each facial feature, down to wrinkles, nose, and makeup. It’s like a glorified character creator from an RPG. You can make an avatar that looks similar to you or just one that’s aspirational, reflecting how you want to be seen in social VR spaces.
By the end of 2021, Oculus will have opened its new avatar SDK to all developers, and these VR personas will be supported in Facebook Horizon, the company’s own expansive social VR playground. Though, games are just one application for these refreshed avatars. Oculus says the avatar you create will eventually appear in some form within the Facebook app, Messenger, Instagram, and more, but only if you choose to. Oculus wouldn’t divulge any specifics on how exactly your avatar will appear in those apps or when. “We’re at the start of a long journey,” Mike Howard, product manager for avatars at Oculus, told The Verge.
Avatars first launched on the Oculus Rift platform in 2016 as “monochrome busts with floating hands,” as my colleague Adi Robertson put it. Howard shared that all of the avatars from the early days had eyewear on because they weren’t trying to simulate realistic facial features, particularly the eyes. Hand movement was the big breakthrough at the time, since Oculus had launched its Touch controllers for the Rift.
The design of these new avatars builds off the learnings from the now-defunct Facebook Spaces and the aforementioned Horizon experience that’s currently in an invite-only beta — both of which opted for a more welcoming, cartoon-y look than the more realistic Expressive Avatars that Oculus showed off in 2018. Howard told The Verge that these new avatars are oriented in their design toward delight with attributes from animation techniques. The expressions look a little exaggerated, and they’re about as harmless-looking as Memoji. They’re cute.
Despite their unassuming look, Oculus studied behavioral traits, like how often people usually blink and the speed at which their eyes shift around to look at points of interest, to make the new avatars seem more grounded in reality. It worked to make a compelling eye gaze, even though Oculus’ current headsets don’t track what your eyes are doing. Perhaps the next-generation Quest headset will, though. Mark Zuckerberg recently talked about eye tracking in an interview with The Information, saying, “One of the things that I’m really excited about for future versions is getting eye tracking and face tracking in, because if you’re really excited about social presence, you want to make sure that the device has all the sensors to really kind of animate realistic avatars so you can communicate well like that.”
As for making the rest of your body move in a believable way, Oculus is leaning on machine learning to make your arm and head movements look less stilted. It trained a prediction model that can guess your shoulder and elbow positions based on where the headset and Touch controllers are located.
You can create a new avatar within the Quest and Quest 2 headsets by clicking into your profile. For Rift users connected to a PC, the new avatar editor will be located within the floating row of navigation buttons near the bottom of your field of view.
Marvel and manga publisher Viz Media announced three Marvel-themed manga that will be released in English, and one of them features an adorable cat.
The first manga will be Marvel Meow, starring Captain Marvel’s cat, Chewie. (If you follow Marvel’s Instagram account, you may have seen some comics starring the furry feline already.) Based on Viz Media’s description, it sounds like her primary goal is to annoy people in the Marvel Cinematic Universe, which I approve.
Read the manga to find out how Chewie “wreaks havoc in the lives of Marvel’s most popular characters: Spider-Man and Iron Man, formidable villains Thanos and Galactus, and the whimsical antihero, Deadpool — all becoming the playthings of this capricious cat!” according to Viz Media’s description. Sounds like a good cat, tbh. Marvel Meow, written and drawn by Nao Fuji, will be released on October 12th.
Deadpool: Samurai will come out next, launching in February 2022. The manga was originally a one-shot in Japan, but it proved so popular that it was turned into a full series. It’s written by Sanshirou Kasama and drawn by Hikaru Uesugi.
Secret Reverse, from Yu-Gi-Oh! creator Kazuki Takahashi, is set for release in summer 2022.
Flagship features and a big, clear screen make this mid-priced mobile a good option for your pocket
For
Good for gaming
Detailed picture performance
Decent built-in speakers
Against
Screen could be subtler
Flat audio performance
Alec Baldwin may be the best known, and arguably most talented, of his siblings but as Trey Parker and Matt Stone once wrote: you know what sucks about being a Baldwin? Nothing! Thankfully for Billy, Daniel, Stephen and the OnePlus 9 smartphone, life always has room for a little brother.
With only two members of the OnePlus 9 family, finding a niche as the more affordable smaller sibling should be no problem at all. The OnePlus 9 is still a big phone and its 6.55-inch display means it can bring some serious scale to your portable viewing.
Not only does the OnePlus 9 have an HDR10+-supporting, 120Hz AMOLED screen, it also has a Hasselblad camera set-up on board too. And it charges so quickly that by the time you remember that you plugged it in, it’s probably full and ready to go.
Granted, there are a few nips and tucks to the specs compared with the OnePlus 9 Pro but, with around a quarter off the Pro’s price tag, this Android handset has the tempting promise of a flagship phone at a mid-range price.
Pricing
The OnePlus 9 is priced at £629 for the Astral Black and Arctic Sky versions, which come with 128GB of storage space and 8GB of RAM in the UK and Europe. The Winter Mist OnePlus 9 is £729 and comes with 256GB of storage and 12GB of RAM.
In the US, only the Astral Black and Winter Mist finishes are available, but both come with 8GB RAM and 128GB of storage. The US OnePlus 9 is priced at $729.
Features
A phone with a 6.55-inch screen is just about small enough to carry out most of your operations one-handed without fear of dropping it, although swiping from the top and bottom without adjusting your grip makes for some pretty intensive thumb yoga. Laid next to the OnePlus 9 Pro, the standard OnePlus 9 is just 4mm shorter at 160mm long and a little thinner at 8.7mm rather than 9mm, but has the same 74mm width.
Despite its fibreglass polymer frame, the finish still feels premium for a non-metal phone. The three-way sliding switch for the silent, vibrate and ring profiles is a particularly nice touch. Underneath that, there is the power button, on the opposite side is the volume rocker with the USB-C port and SIM tray on the bottom edge. Sadly, there’s no 3.5mm headphone socket.
OnePlus 9 tech specs
Screen 6.55in AMOLED
Resolution 2400 x 1080 (402ppi)
Rear camera 48MP, 50MP, 2MP
Front camera 16MP
Dolby Atmos Yes
Finishes x3
Dimensions (hwd) 16 x 7.4 x 0.9cm
Weight 192g
For wireless audio, there’s Bluetooth 5.2 with aptX and aptX HD included as well as LDAC technology, which allows hi-res audio streaming over Bluetooth at up to 24-bit/96 kHz.
As for that screen, it’s a 2400 x 1080 AMOLED panel with a fixed 120Hz refresh rate and a pixel density of 402ppi. Compared with the 9 Pro (525ppi), it’s a little less sharp and slightly dimmer too, with a peak brightness of 1100nits rather than the 1300nit display on the Pro. On top is a flat piece of Gorilla Glass, under which is a hidden fingerprint reader, though you can also unlock the phone using face recognition.
Those looking to dive into some on-the-go TV and film watching will appreciate the HDR10+ and HDR10 support with plenty of HDR compatibility to be found on Netflix and others. You can play locally stored MKV, MOV, MP4, H.265 (HEVC), AVI and other video file formats. The display proportions offer a maximum possible 20:9 aspect ratio, but while most content is edged by a pair of black bars, premium gaming titles use the whole screen width.
Game Mode Pro is a handy feature of Oxygen OS – an otherwise light skin on top of Android 11. It shuts off notifications from popping up on your screen, restricts background app use to divert as much processing power to your gaming as possible and prioritises your network use for game data. We also like the way it brings quick access to options such as WhatsApp messaging, Instagram and screen recording with a small, pull-down menu at your thumb.
The gameplay itself is well handled. The fast refresh rate of the display helps your gaming feel lag-free, both on and off-line. OnePlus has installed its Cool Play vapour cooling system, but even after one round of PUBG Mobile, the handset still feels pretty warm.
Despite that, and the fixed 120Hz rate, the 4500mAh battery takes us well beyond a day of heavy use. Should you need to recharge more regularly, you’ll be pleased to note that the Warp 65T charger included in the box takes just under 30 minutes to fill your phone.
As with the OnePlus 9 Pro, owners of this handset benefit from a Hasselblad-calibrated camera array. Here, it is a three-lens set-up, with a main 48MP camera, a 50MP ultrawide and a monochrome shooter, but no telephoto. There is 12-bit colour depth stills imaging available in Pro Mode for RAW files and you can capture 8K video at 30fps and 4K video at 60fps.
Telephoto aside, the performance of the camera is right up there with that of the 9 Pro’s. The optical image stabilisation works a treat for the handheld tracking shots around our test facilities. The results look almost as if they were shot using a camera dolly and there’s the odd jump only with fast pans. The colours are bright and rich, if not quite as real-world accurate as the best smartphones.
As with its bigger brother, the Qualcomm Snapdragon 888 chip orchestrates the action with great aplomb. There’s barely a glitch or stutter in our time with the phone and we’d expect it to stay that way with regular updates and fixes to the OS, the UI and third-party apps.
Screen
If you’re expecting the performance of the OnePlus 9 to match that of the OnePlus 9 Pro, think again – that extra spend goes on more than just an aluminium frame and some curved glass. But there is a lot to like about the OnePlus 9’s picture performance.
It’s easy to lose ourselves in the story of The Witcher in HDR on Netflix. It’s a bright and engaging image with a decent degree of punch and no wanting for detail in light and dark areas of the screen. The opening shots across the shaded interior of a barn reveal lots of detail in the shadows without doing much damage to the black depth. Even when the frame becomes split between that darkness and the bright daylight on the faces of the young lovers outside the barn, the overall exposure levels remain well pitched.
We’re just as pleased with how the OnePlus 9 handles SDR. The Display P3 mode brings a good blend between the natural look of the Missouri countryside and the exciting colours of sci-fi space as we watch Guardians Of The Galaxy 2 in Full HD. If you’d rather not get your hands dirty in the settings, pull the colour temperature towards ‘cold’ or use the Natural preset.
As with the OnePlus 9 Pro, though, there’s room for improvement. The very best handsets maintain a slightly inkier black depth and add a bit more of a dynamic HDR feel, while some displays are a touch more careful with shading. It’s most apparent when looking at faces – the skin complexion of the lovers in The Witcher episode, for example, are fairly uniform in their production, when colour and lighting could be handled a little better.
But these performance compromises are in line with the 9 Pro, which also favours dark detail over black depth. The 9 Pro is sharper, a little brighter and the colours go a touch further before starting to look artificial but, given the difference in price, this is to be expected. The OnePlus 9 still makes for some worthy big-screen viewing at this point in the market.
Sound
But while the screen can be classed as ‘good’, the audio performance of the OnePlus 9 is firmly in the average category. It plays your favourite tracks faithfully enough but is never going to thrill you. That doesn’t mean that it’s not without its charms, though.
OnePlus’s ‘Dual stereo speaker’ set-up is fine for listening to music or watching a film without headphones. Dialogue is clear and sound effects are identifiable, while music is balanced and not without a sense of presence. We’d recommend listening without the Dolby Atmos music processing, but both ‘Film’ and ‘Music’ modes come across well.
Listening to Biffy Clyro’s Many Of Horror, the OnePlus 9 conveys that powerful sense of emotion. There’s definition and clarity to the vocals and the squeaky slides up the guitar strings of the intro, even if it’s not the most detailed delivery we’ve heard. The volume on the device doesn’t go particularly high but reaches the top with hardly any distortion.
For headphones listening, it’s best to axe the processing and set the OnePlus 9 to ‘None’ under ‘Style Preference’ in the sound settings. It doesn’t do much to make up for this phone’s underwhelming dynamics but keeps music as rhythmic as possible. We play Blue Monday by New Order and the impact of the electro beats and synth sounds is in line with the OnePlus 9 Pro’s performance. The more expensive model has a better stab at organising the sounds but, paired with a decent set of headphones, there’s still plenty to enjoy here.
But with busier tracks, there’s more of a sense of what could have been, sonically. We hit play on Black Hole Sun by Soundgarden, hoping for a taste of moody grunge. But while all the instruments are there and tonally in balance, Chris Cornell’s voice comes across flat and expressionless. Nor is there a change of gear when the drum fills announce the chorus. Ultimately, this phone plugs the music gap while we’re out and about, but not an awful lot more.
Verdict
There aren’t many smartphones that offer so much screen real estate at this price. The fact that it’s such an involving picture performance is a compelling reason to buy the OnePlus 9.
Our doubts are mostly on the audio side, as some rival phones make music on the go a more exciting affair. If you use a dedicated music player or are looking for a mobile phone primarily for its video performance, then don’t let its sonic drawbacks put you off. Between the high-performing chipset, the lag-free gaming, the Hasselblad camera and the scale and quality of the screen, there are plenty of reasons why the OnePlus 9 is a good idea.
Instagram puts ads just about everywhere in its app, and now, they’re coming to Reels. The company says today it’ll start testing ads in its TikTok copy product in India, Brazil, Germany, and Australia. The plan is to then expand that group in the coming months. The ads can be up to 30 seconds long, like Reels, and will look similar to the ones you see in stories in that they’re vertical and full-screen. Unlike those story ads, though, people can comment on, like, view, save, share, and skip them in Reels.
The broader Facebook company also previewed its new sticker ads for Facebook Stories, which will be tested with select advertisers and creators over the coming weeks. The company announced them last month with the idea being that the stickers are just that, cute stickers, but that they can also be tapped to buy a product. Creators will get a cut of the revenue, and you can see an example below.
The ads in Reels comes as no surprise, given that Facebook’s business is built around them. It’s more unexpected that the company brought shopping to Reels globally before ads, but it’s possible Instagram didn’t want to turn people off from the format with consistent advertising wedged between actual content. Instagram head Adam Mosseri even noted he wasn’t “happy” with the feature yet, as of January.
With sticker ads, more people could become influencers, and product placement might look more organic than a clear brand shoutout that someone’s being paid to promote. In the sample mock-up, the sticker does note that it’s “sponsored,” but the font is thin and discreet — I expect people to miss that small disclaimer and also to possibly not know that the people posting them receive a kickback from any sales made.
The FBI says it used facial recognition technology to track down and arrest an individual suspected of taking part in the US Capitol riots earlier this year. The case, which was first reported by The Huffington Post, is notable for the FBI’s acknowledgement that it used facial recognition not just to confirm a suspect’s identity, but to discover it in the first place.
According to an affidavit shared online by the Huffington Post, federal agents tracked down an individual named Stephen Chase Randolph using crowdsourced images from the riots (including those shared on Twitter by a group known as SeditionHunters). They searched these pictures on the web using “an open source facial recognition tool, known to provide reliable results,” and this led to a public Instagram page apparently belonging to Randolph’s girlfriend which contained “numerous images” of the suspect.
Pictures on the account showed Randolph wearing the same items of clothing as in stills captured at the Capitol. These included a grey knitted hat with the Carhartt logo embroidered in white on the front. This hat was key for tracking Randolph’s activities across multiple videos and images, leading to SeditionHunters dubbing him #GrayCarharttHat.
The FBI affidavit says Randolph was seen assaulting multiple US Capitol Police officers. “In the process of pushing the barricades to the ground, the SUBJECT and others knocked over a USCP Officer […] causing [her] head to hit the stairs behind her, resulting in loss of consciousness,” says the report. “The SUBJECT then continued to assault two other USCP officers by physically pushing, shoving, grabbing, and generally resisting the officers and interfering with their official duties of protecting the closed and restricted US Capitol grounds.”
After finding Randolph’s girlfriend’s Instagram account, federal agents found Facebook accounts apparently belonging to his family members, revealing Randolph’s full name. They then cross-referenced his identity with state driving license records and surveilled him at his home and workplace, where he was spotted still wearing the same Carhartt hat.
To confirm Randolph’s participation in the riots, two undercover FBI agents approached him at his work on April 13. They struck up a conversation with Randolph in which he admitted to attending the riots, saying “I was in it” and “It was fucking fun.” Randolph also said he’d seen a female police officer being pushed over by the barricades, and suggested that the officer had suffered a concussion because she’d curled up into the fetal position. Randolph was arrested in Kentucky a week after this interview took place, says TheHuffington Post.
The case shows how the FBI is using facial recognition and crowdsourced images to track down those who participated in the January 6 riots. Such tools are not always necessary to find suspects, but their use appears to be becoming increasingly common. A report from BuzzFeed News earlier this month revealed that some 1,803 publicly funded agencies, including local and state police, tested controversial facial recognition service Clearview AI prior to February 2020. The technology has only become more widely known since.
Instagram announced a new tool today that will allow users to automatically filter out direct message requests containing offensive words, phrases, and emojis. The tool is targeted at celebrities and public figures who receive a large number of unwanted, harmful DMs.
The update builds on Instagram’s work to combat hate speech on the platform. In February, the company said it would begin disabling the accounts of users who sent multiple harassing messages. In 2018, the company expanded its offensive comments filter to automatically block comments that attack a person’s appearance or character.
The message requests filter can be toggled on or off in a new section of the app called “hidden words.” When it’s on, offensive messages will be pushed to a separate folder. DMs in this folder are concealed, allowing users to browse messages without needing to read what they say. If a user taps into a message, they can read, delete, or report it.
The company says it worked with “leading anti-discrimination and anti-bullying organizations” to come up with a preset list of offensive phrases. Users can also customize their own list based on what they don’t want to see.
Instagram said the new feature will be rolling out to “several countries” in the coming weeks, though it did not specify which countries those are. The company plans to expand to more countries in the next few months.
As part of the announcement today, Instagram also said it is rolling out a tool to allow people to preemptively block new accounts from harassers. Now, when a user blocks someone in the app, they’ll have the option of blocking any new accounts that person creates. The company declined to specify how it does this, saying only that it uses a “variety of signals” to detect new accounts from those same users. The feature will be pushed out globally in the next few weeks.
Whenever Apple decides to schedule an event, you know there are going to be some interesting products introduced, with at least one major device taking center stage and perhaps one or two surprise entries.
Current rumors have Apple introducing 11-inch and 12.9-inch iPad Pro models, the latter with Apple’s first Mini LED display. There may also be a new Apple Pencil stylus to go with it.
What else? We could see Apple’s long-awaited AirTags, device trackers that are set to go up against Tile, the current leader in that particular market. There is the possibility of a new iPod Mini, a third-generation version of the AirPods, a new model of the Apple TV (which was released in 2017), and the official release of iOS 14.5.
Anything more? Well, that’s always a possibility. Be here at 1PM ET and find out.
WHAT TIME IS THE APPLE “SPRING LOADED” EVENT?
You’ll have to tune into the live stream, which starts at 10AM PT / 1PM ET today, Tuesday, April 20th. The event will likely be available to watch again after it concludes, so you’re not stuck if you miss out on the debut stream.
WHERE CAN I WATCH THE APPLE EVENT?
As always, Apple is hosting the stream on its site. Alternatively, it’s streaming on YouTube. The YouTube stream is embedded up at the top, so feel free to stick around.
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Keep an eye on @verge on Instagram for live updates
Facebook is going all in on audio. The company announced multiple products on Monday that emphasize voice content over text, images, or video. The products will be released over the next few months and, in some cases, will start with a limited set of people.
Most notably, Facebook is indeed launching a competitor to the buzzy social audio app Clubhouse with a feature called Live Audio Rooms, which will be available this summer. It’ll first roll out to groups and public figures as a test, but it will eventually make its way to Messenger, too, so people can hang out with friends. Users will be able to record their conversations and distribute them, and eventually, people can charge for access to these rooms through either a subscription or one-time fee.
To get people to join, Facebook says it’s introducing an Audio Creator Fund to “support emerging audio creators.” All of these conversations can also be turned into “Soundbites,” a forthcoming feature that allows people to create and share shortform audio clips along with an algorithmic feed to promote them. Think TikTok, but with audio clips.
Soundbites will live within the broader News Feed. Users will be able to record them in a separate tool within Facebook, which the company describes as a “sound studio in your pocket.” In a chat with Casey Newton, the author of Platformer and a contributing editor at The Verge, Facebook CEO Mark Zuckerberg equated Soundbites to Reels, Instagram’s TikTok competitor, but for audio.
He also added that he likes audio over video or images because it allows people to multitask and host longer, nuanced conversations.
“The high-level picture here is that we think that audio is, of course, also going to be a first-class medium, and that there are all these different products to build across this whole spectrum,” Zuckerberg said.
Facebook also plans to take on a bigger role in podcasting. The company says it’ll start recommending shows and episodes based on people’s interests and that people can comment on them and recommend them to friends. The company says 170 million people on Facebook are connected to a page that’s linked to a specific podcast, and more than 35 million people are members of fan groups around podcasts.
Zuckerberg says a partnership with Spotify is forthcoming, too, which will bring the company’s player over to Facebook, letting people stream music and podcasts from their News Feed. Zuckerberg emphasized that this feature is for music. But still, Facebook users will be able to share Spotify podcasts and let people listen without having to leave the Facebook world — they just have to link their accounts.
“Our ambition has always been to make Spotify ubiquitous across platforms and devices — bringing music and podcasts to more people — and our new integration with Facebook is another step in these efforts,” a Spotify spokesperson said in a statement. “We look forward to a continued partnership with Facebook, fueling audio discovery around the world.”
Finally, Facebook’s tipping system, Stars, will be coming to Live Audio Rooms as well as for individual creators and public figures.
How serious Facebook is about audio and whether users actually want it over other formats is still unclear. On one hand, the audio industry is hot right now, with most major tech companies wading into the broader podcasting industry. Clubhouse and other audio startups have also made live audio a popular way to interact, and already, multiple big platforms have integrated the format into their apps.
On the other hand, live audio has clearly found its moment during the pandemic, when everyone’s been starved of human interaction and mostly confined to their homes. Podcasting offers edited, on-demand conversations, which people have enjoyed for years, but whether the live formats will survive remains an open question. Facebook has also routinely gone all in on a format, only for it to languish. It went for longform video with IGTV but has since pivoted to a focus on Reels. It launched and subsidized Facebook Live content, which has since mostly fallen by the wayside. The same could happen for audio, but Facebook is clearly using its size to try to make its mark on the industry.
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