There’s only supposed to be one way to hear exclusive podcast content from sports host Scott Wetzel: by paying $5 a month to subscribe to his Patreon. But the show’s also been available on a smaller podcasting app for free. In fact, leaked podcast feeds from dozens of subscription-only shows, including Wetzel’s and The Last Podcast On The Left, are available to stream through Castbox, a smaller app for both iOS and Android, just by searching for them.
Two people in the podcast space tell me they’ve reached out to Castbox multiple times, only for the company to remove a show and then have it pop up again, an infuriating cycle for someone trying to charge for their content. “It’s a little bit like playing whack-a-mole with them,” says one source, who asked to remain anonymous because of their ongoing work in the space.
Podcast subscriptions have existed for years, but they’ve gained wider attention this past month. Apple, which makes the dominant podcasting app, introduced in-app subscriptions with a button that lets people directly subscribe to a show from the app. Spotify announced its own subscription product, too, but with caveats — the main one being there’s no actual in-app button.
Prior to both of these proprietary solutions, the podcasting world’s subscription products mostly centered on private RSS feeds, or links typically assigned to individual listeners that allow them to access shows. The links can be pasted into any supporting podcast app, like Apple Podcasts, Overcast, and Pocket Casts, and for the most part, the system’s worked. Podcasting remains a mostly open ecosystem, and although this content is paywalled, shows still benefit from seamless RSS distribution. Notably, podcasters don’t have to manage multiple backends across services and can publish all their subscribers’ content at once.
But private feeds still have a glaring downside: these links can be easily shared, and anyone with the link can access private content. Piracy might become a growing concern, too, as the industry looks toward subscription and exclusive models. Already we’ve seen pirated shows on Anchor, and re-uploads of the Spotify-exclusive The Joe Rogan Experience on Castbox, as well. Although Castbox is small enough that the leaks likely aren’t on most podcasters’ radars, they still illustrate the problems one weak link in the distribution chain can create.
“This is the beauty and the mess of the open system — the web is amazing and allows us to publish content everywhere, but restricting access to content is always going to be tricky,” says Justin Jackson, co-founder of podcast hosting service Transistor.fm.
He adds that, inevitably, people will find ways to subvert the system, whether that’s recording audio and distributing it on their own or sharing their private feed links among friends.
To prevent situations like this, software has been touted as a possible solution. Slate’s Supporting Cast — which powers multiple membership-oriented shows, including Slate’s own Slate Plus network — monitors private RSS feeds for suspicious activity, like thousands of downloads on what’s supposed to be someone’s single-person feed. The software also monitors the IP addresses where someone is listening and the podcast app they’re using to see if anything seems out of the ordinary.
So far, the issue hasn’t become a huge problem. Supporting Cast CEO David Stern says the team has only had to take action fewer than 100 times in the year and a half that the automated monitoring has been active.
“You could always share a username and password to Hulu or Netflix, and that’s sort of okay. The companies let you get away with that,” Stern says. “You’ve got to strike a balance. We’re not talking about national security secrets here.”
The software-side workarounds can be effective — especially considering RSS, the backbone upon which the podcast industry was built, doesn’t allow for many technical improvements. However, it’s an investment that not every company might want to make. So the broader solution for locking down private feeds is simpler: tags, or literal snippets of text, that are part of a podcast feed’s metadata.
Multiple distribution companies and hosting platforms now verify the owners of RSS feeds through tags. These tags list an owner’s email address, which the platforms then use to verify the person uploading the feed, thereby preventing people from trying to pass an already established show off as their own. Feeds can also be “locked,” a separate tag that, if respected, stops platforms from importing a show. A third and final tag, which is particularly relevant to private RSS feeds, instructs podcast apps not to index a particular show. Google Podcasts, as an example, scours the web to index shows and include them in the app, similarly to how its search engine populates results. If this tag is placed in an RSS feed, as it likely would be for a private feed, the app won’t index it.
“What most platforms are doing is making it as difficult as they can for people to pirate podcast feeds – for people to submit podcast feeds to the directories — but still, at the same time, trying to make it easy for folks [who listen],” Jackson says.
The catch with tags, though, is they’re only as good as the platforms allow them to be. You might tell a platform not to index a program, but it doesn’t have to obey that request.
Jackson posits that this appears to be happening in Castbox’s case. These RSS feeds likely aren’t being verified when they’re submitted and, if a feed’s metadata requests that it not be indexed, Castbox isn’t heeding that ask.
None of these feeds appear to have been uploaded maliciously to Castbox and most have a small number of plays — the damage is minimal. I reached out to the owner of the private RSS for Wetzel’s podcast, and he confirmed that he only meant to listen to this podcast on his own, not to make it public. He “didn’t give it any thought” that the show would become public when he added the RSS feed to listen on Castbox. (The Joe Rogan Experience copycat, however, has more than 400,000 plays and over 14,000 subscribers.)
It’s unclear what’s happening on Castbox’s end. The company says it supports private RSS feeds, but presumably doing so wouldn’t mean making them public. Verifying a feed should also prevent it from going public, as should some of these tags. We’ve reached out to Castbox to confirm the details, but seemingly, the industry’s safeguards failed.
Podcasters and app developers clearly see paid memberships as part of the industry’s future, but the risks of private RSS feeds could compromise the industry’s headway. It might even give Spotify and Apple a leg up on competitors that have built entire businesses around locking down the open technology. But even a proprietary solution can’t prevent piracy entirely, and for podcasters, they’ll likely have to accept some risk and rely on the good faith of the podcasting players themselves to keep their shows from going wide.
Sherlock’s kid sister is making a return. Today, Netflix announced Enola Holmes 2, a sequel to last year’s crime caper that took the Sherlock story in a slightly younger direction, focusing on the famous detective’s teenage sister.
We don’t have many details about the new movie just yet — such as what it’ll be about or when it’s hitting the streaming service — but at the very least, many of the key figures are returning. That means Millie Bobby Brown and Henry Cavill will reprise their roles as Enola and Sherlock, respectively, and that director Harry Bradbeer and writer Jack Thorne are also on board again. The new movie will be produced by Legendary “in partnership with Netflix.”
The sequel is afoot!
The adventure continues as Millie Bobby Brown & Henry Cavill return to the world of ENOLA HOLMES, reteaming with director Harry Bradbeer & writer Jack Thorne on a second film based on Nancy Springer’s book series about Sherlock Holmes’ brilliant sister. pic.twitter.com/7tsr1fbej2
— NetflixFilm (@NetflixFilm) May 13, 2021
The movies are based on a series of young adult novels by Nancy Springer. And the first film also holds the distinction of forcing a lawsuit, after the estate of Sir Arthur Conan Doyle sued Netflix for giving Sherlock too many feelings.
The Aorus FV43U misses a couple of things as a TV replacement, but for gaming, it has few equals. A huge and accurate color gamut coupled with high contrast, 4K resolution and 144 Hz makes it a great choice for both PC and console gamers.
For
+ Class-leading contrast
+ Huge color gamut
+ Accurate out of the box
+ Excellent HDR
+ Solid gaming performance
Against
– No 24p support
– No Dolby Vision
Features and Specifications
If you’re looking for a jumbo-sized gaming monitor, there are plenty of routes you can take. There are multiple sizes of ultrawide 21:9 screens ranging from 34 to 38 inches diagonal. Then there’s the mega-wide 32:9, 49-inch genre. Or you can stick with flat panels in the 16:9 aspect ratio and go 32 inches or larger. Many simply opt for a TV, opening up the field to extra large displays that can top 80 inches.
If you want to stick with a desktop configuration though, the 43-inch category is a good choice. It’s large but not so big that you can’t sit close. It’s possible to play from 3 or 4 feet away, see the entire screen, and fill your peripheral vision with the image. And the 16:9 aspect ratio that 43-inch monitors come in means plenty of height, something that ultrawide and mega-wide monitors don’t have.
You can typically put a 43-inch gaming monitor on your desktop for around $1,500. That’s more than many 55-inch TVs but a computer monitor delivers a few things, like DisplayPort and high refresh rates, that consumer TVs do not. The Gigabyte Aorus FV43U makes the comparison a little easier, however, as it’s going for $1,000 as of writing.
The FV43U is a 16:9 VA panel competing with the best 4K gaming monitors with a 144 Hz refresh rate, AMD FreeSync, HDR and a quantum dot backlight that’s specced to reach 1,000 nits brightness. It also delivers decent sound from its built-in speakers, thanks to multiple sound modes. Let’s take a look.
Gigabyte Aorus FV43U Specs
Panel Type / Backlight
VA / W-LED, edge array
Screen Size & Aspect Ratio
43 inches / 16:9
Max Resolution & Refresh Rate
3840×2160 @ 144 Hz
FreeSync: 48-144 Hz
Native Color Depth & Gamut
10-bit (8-bits+FRC) / DCI-P3
DisplayHDR 1000, HDR10
Response Time (GTG)
1ms
Brightness
1,000 nits
Contrast
4,000:1
Speakers
2x 12w
Video Inputs
1x DisplayPort 1.4 w/DSC
2x HDMI 2.1, 1x USB-C
Audio
2x 3.5mm headphone output
USB 3.0
1x up, 2x down
Power Consumption
54.3w, brightness @ 200 nits
Panel Dimensions
38.1 x 25.1 x 9.9 inches
WxHxD w/base
(967 x 638 x 251mm)
Panel Thickness
3.5 inches (88mm)
Bezel Width
Top/sides: 0.4 inch (10mm)
Bottom: 1 inch (25mm)
Weight
33.8 pounds (15.4kg)
Warranty
3 years
By starting with a VA panel, the FV43U is already ahead of many premium gaming monitors that rely on lower contrast IPS technology. Most IPS monitors are specced for around 1,000:1 contrast, while the FV43U boasts 4,000:1 on its sheet and topped that dramatically in our testing with SDR and extremely when it came to HDR. HDR is aided by the monitor’s 1,000-nit backlight enhanced by a quantum dot filter for greater color volume, which our testing will also confirm.
Video processing leaves nothing under the table. The FV43U is one of the few 4K displays that can run at 144 Hz. It manages this over a single DisplayPort cable using Display Stream Compression (DSC). That means it can process 10-bit color, though it uses Frame Rate Control (FRC) to achieve this. FreeSync operates from 48-144 Hz in SDR and HDR modes. G-Sync also works with the same signals as verified by our tests, even though it’s not Nvidia-certified. (You can see how by checking out our How to Run G-Sync on a FreeSync Monitor tutorial).
Peripheral features include two HDMI 2.1 ports, which support console operation, namely the PS5 and Xbox Series X, with variable refresh rates up to 120 Hz. The monitor’s USB-C port accepts Ultra HD signals up to 144 Hz. This is common among USB-C monitors as USB-C can replicate DisplayPort functions, but you’ll need a graphics card with USB-C, of course. The monitor’s USB-C port also allows for KVM switching (allowing you to control multiple PCs with a single keyboard, monitor and mouse) through additional USB 3.0 ports.
Assembly and Accessories
Two solid metal stand pieces bolt in place on the bottom if you set up on a desktop or entertainment center. Wall mounting is supported by a 200mm lug pattern in back. You’ll have to source your own bolts which should be part of any bracket kit.
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From the front, the FV43U looks like any modern television with a narrow bezel around the top and sides and larger bit of molded trim across the bottom. The Aorus logo and a power LED are visible in the center. The stand puts the panel a bit less than 3 inches from the table, so it’s a good height for a desktop if you plan to sit around 4 feet back. The anti-glare layer is more reflective than most smaller screens, so plan placement accordingly if you have windows in your room.
A joystick for controlling the on-screen display (OSD) menu joystick is prominently situated on the panel’s bottom center but the easiest way to control the FV43U is with its tiny remote. It only has a few keys but they’re enough to zip through the OSD, change inputs and control the gaming features.
The back is where you’ll find most of the styling elements. Two slanted shapes are rendered in shiny plastic, along with an Aorus logo in the center. The rest of the finish is matte and features some brushed textures. Angles and straight lines are the order of the day with a generous grill at the top for heat dissipation. Speakers fire from the bottom vents and deliver 12W apiece (more on that in the Hands-on section).
The input panel is on the right side which makes it easily accessible. You get two HDMI 2.1, one DisplayPort 1.4 and a USB-C, which also supports 144 Hz and Adaptive-Sync. The HDMIs are limited to 120 Hz but support Adaptive-Sync and 4K resolution, making it fit for console gaming.
OSD Features
The OSD looks just like the menu found in all Aorus monitors but you can make it larger so it can be more legible from across the room.
The Gaming sub-menu has everything needed for competitive gameplay. At the top is Aim Stabilizer Sync, which is a backlight strobe for blur reduction. It’s one of the rare implementations that can work in concert with Adaptive-Sync, and it manages to do this without reducing brightness too much out of the box (of course, you can always turn the brightness up).
Black Equalizer makes shadow detail more visible; Super Resolution adds edge enhancement (not in a good way), Display Mode changes the aspect ratio and Overdrive offers four options. Balance is the best one, as it has good blur reduction, no visible ghosting and allows you to toggle Adaptive-Sync on or off.
The Picture menu offers an extensive array of image modes (eight, plus three custom memories), along with color temp and gamma presets and something we normally see only on professional screens: selectable color gamuts. You can choose between Adobe RGB, DCI-P3, sRGB or Auto, but in our tests, Auto did not automatically switch the color gamut for different signal types. That means that if we wanted to watch SDR content in the sRGB it’s made in, we had to select the gamut manually.
You also get Local Dimming, which increases contrast significantly. It makes the picture very bright as well, but highlight and shadow detail remain solid, so it is perfectly usable. However, we recommend leaving it off unless your room has a lot of ambient light because you can’t reduce brightness when it’s on. If you prefer a Low Blue Light mode for reading, that feature is in the OSD too.
A single press of the large button in the center of the remote’s nav pad brings up a quick menu. Pressing left opens the Aorus dashboard, which can display your PC component’s internal temperatures and fan speeds. You’ll need a USB connection for this, but most motherboards will transmit the information to the FV43U.
A right press brings up Game Assist, which offers timers, counters, refresh rate info and aiming points. You also get a single cross in the OSD and can create additional reticles if you download the Aorus desktop app. Additionally, the OSD offers alignment marks in case you plan to set up additional FV43Us in a multi-screen configuration. Now that would be super cool! We’re thinking ultimate desktop flight simulator.
Gigabyte Aorus FV43U Calibration Settings
The FV43U comes set to its Green (yes, that’s the term used in the OSD) picture mode. It has nothing to do with the color green but is fairly accurate out of the box – enough to make our Calibration Not Required list. But if you’re a perfectionist and want to tweak the image, choose the User Define color temp and adjust the RGB sliders. Gamma presets and color gamut options are also available. For the full native gamut, choose Auto or Adobe RGB. Either will deliver just over 100% of DCI-P3 coverage. sRGB is also very accurate, but we found it better to choose the sRGB picture mode rather than the sRGB gamut mode. Below are our recommended calibration settings for SDR on the Gigabyte Aorus FV43U.
Picture Mode
Green
Brightness 200 nits
13
Brightness 120 nits
4
Brightness 100 nits
2 (min. 89 nits)
Contrast
50
Gamma
2.2
Color Space
Auto or Adobe
Color Temp User
Red 100, Green 97, Blue 99
When HDR content is present, there are four additional picture modes available: HDR1000, HLG, Game and Movie. HDR1000 is the most accurate, but locks out all image controls. Game and Movie allow for brightness and contrast adjustments and toggling and local dimming. We’ll explain that in more detail in the HDR tests.
Gaming and Hands-on
A question that should be answered when one considers buying a 43-inch gaming monitor is, will it function as a TV? Since some FV43Us will wind up in living rooms or entertainment centers, it’s important to know whether it can play well with things like disc players or streaming boxes.
There is no internal tuner so technically, the FV43U is not a TV. But its HDMI 2.1 inputs can accept input from any cable or satellite receiver, as well as a 4K disc player or streaming box like Apple TV. We tried a Philips BDP-7501 player and an Apple TV source. SDR and HDR10 signals were supported fine with one omission, 24p. Film cadences are present on any Blu-ray and in many streamed shows and movies from streaming services like Netflix and Amazon Prime (in addition to 50 and 60 Hz). The FV43U converted these streams to 60 Hz, which caused a bit of stuttering here and there. It wasn’t pervasive, but we occasionally saw artifacts. Note that the FV43U, like most computer monitors, doesn’t support Dolby Vision. We’ve only seen a few pro screens that includeDolby Vision.
As a monitor for controlling Windows, the FV43U was a joy to use. With its vast area, we could clearly view four or five documents simultaneously. Sitting about 4 feet back, the pixel structure was invisible, but if we sat closer we were just able to see the dots. Color, meanwhile, was beautifully saturated, great for watching YouTube and browsing the web. If you want perfect accuracy for web browsing, the sRGB mode is available with a few clicks of the remote.
Gaming is also a blast with a screen this big. SDR games like Tomb Raider rendered in vivid hues with deep blacks, bright whites and superb contrast. The large dynamic range and accurate gamma mean that you’ll see all the detail present in the original content. That lends a realism seen on only the very best computer monitors.
HDR games, like Call of Duty: WWII, also showed tremendous depth on the FV43U. We played exclusively in the HDR1000 picture mode because of its very accurate luminance and grayscale tracking. The FV43Us large color gamut was put to good use here. It was readily apparent in skin tones and natural earth shades, like brown and green. That, coupled with nearly 39,000:1 contrast, made surfaces and textures pop with a tactility that we’ve only seen from premium screens like the Acer Predator CG437K or the Asus ROG Swift PG43UQ (both go for $1,500 as of writing). Without a full-array local dimming (FALD) backlight like that Acer Predator X27 and Asus ROG Swift PG27UQ have, the FV43U doesn’t quite make the very top tier of the best HDR monitors. But it comes awfully close to their image quality while delivering a lot more screen area.
The monitor’s two 12W speakers deliver sound that’s better than what you’ll hear from smaller monitors with much more bass and overall presence. Five audio modes help you tailor sound to your preference. If you’d rather use your best gaming headset, there’s a 3.5mm jack and an additional analog output for external systems.
We’re in a relatively quiet period for Switch releases while we wait for Skyward Sword’s remaster to release in July. Thankfully, today marks the arrival of a new $10 calculator app on Nintendo’s console, which should stop your machine from gathering too much dust over the coming months. Hell yeah. Math.
The app, which was spotted by Eurogamer, is literally just called “Calculator” and is being published by Sabec. It’s single-player, which unfortunately rules out any team-based calculating, and it works in TV and handheld modes, according to its product page. We’d be remiss if we didn’t point out that the app bears a striking resemblance to the iPhone’s old calculator app, but being charitable, it’s possible that the app is only guilty of drawing inspiration from Dieter Rams’ classic design.
Unlike Sony’s and Microsoft’s consoles, and even Nintendo’s previous machines, the Switch doesn’t have much in the way of non-gaming apps. It doesn’t have Netflix, Spotify, or those other pieces of software that we’ve come to expect will appear on basically any piece of electronics with a screen. But now, finally, it has a calculator app. Thank god.
Earlier this year we reported that Walmart was prepping a new streaming stick under its affordable ‘Onn’ brand. The big-box retailer is yet to release details of that product, but now another Onn media streamer has shown up on Walmart’s website.
First reported by 9to5Google, the official listing for the ‘onn. Android TV UHD Streaming Device’ promises 4K and Dolby Audio support, as well as Chromecast built-in and Google voice controls for the princely sum of $29.88.
As you can see, this version is a streaming ‘box’ rather than a ‘stick’ and has a slightly different remote with dedicated buttons for YouTube Netflix, Disney+ and HBO Max. (The leaked photo of the streaming ‘stick’ showed it with an Amazon Prime Video shortcut.)
Spec-wise, the new box is just what you’d expect from a budget-friendly streamer that runs Google’s Android TV. There’s support for WiFi 5, an HDMI port (for video output) and a micro USB connection (for charging).
There are plenty of 4K streaming sticks already on sale around the $50 mark, with the Amazon Fire TV Stick 4K and Roku Streaming + both proving popular choices at the moment. But at less than $30, Walmart’s onn. Android TV UHD Streaming Device could give consumers another tempting proposition (and rival brands a sleepless night or two).
The device isn’t available to purchase yet – Walmart shows it as “Out of stock” – but the fact that the listing is public points to a launch in the near future. Perhaps we’ll see this model joined by the rumoured Onn streaming stick? Over to you, Walmart.
Snowman is best-known for games like Alto’s Adventure and Skate City, but soon the company will be exploring a very different realm: children’s apps. Today, Snowman announced an upcoming game called Pok Pok Playroom, which will be launching on May 20th on the App Store. It’s a charming, minimalist experience aimed at kids between two and six, designed to encourage open-ended play through a handful of different digital toys. But Pok Pok isn’t just an app, it’s also the name of a brand-new creative studio spun off from Snowman that will be explicitly focused on making these kinds of experiences.
Pok Pok has been in the works for several years. It started life as a side project for Esther Huybreghts and Mathijs Demaeght, who were working as artists at Snowman while also raising two young boys. (The two now serve as creative director and design director of Pok Pok, respectively.) They wanted to find something where they could work together and explore their creativity outside of their day jobs. At the same time, they were coming to grips with raising two children and figuring out how to introduce screentime in a healthy way.
“We wanted him to have some screentime,” Huybreghts says of her youngest child. “When we started looking for an app, we had a high standard of what we wanted. We didn’t want anything addictive, or loud and overstimulating. We couldn’t really find anything that was up to our standards so we decided to build something ourselves.”
They showed it to their co-workers, and it wasn’t long before it became a full-time production and, eventually, the focus of a brand-new studio. “It was immediately interesting,” Snowman creative director Ryan Cash says. Pok Pok Playroom features several different virtual toys, including things like a simple drawing tool and a board full of fun switches and buttons to play with. For the most part, the digital toys are inspired by real-world ones.
“We wanted to bring open-ended play to a device, and most of the toys we liked, in our real playroom, had that same open-endedness to them,” says Huybreghts. Melissa Cash, co-founder and CEO of Pok Pok, adds that “the choice to be inspired by some of these toys was very intentional, because these are timeless toys that have been in our lives for generations. We wanted Pok Pok to have that same feeling of being a timeless toy that grows with your children. They’re designed to reveal more things as your kids become more curious.”
That idea of open-ended play is core to Pok Pok. The games don’t feature high scores or fail states, or many other elements associated with a typical video game. Instead, much like a real-world pile of wood blocks or bucket full of die-cast cars, everything is left up to the player. “The goal starts with the child,” Huybreghts explains. “We don’t tell them what to do. Every game they play is led by them.”
In some ways, Playroom is most interesting for the things it doesn’t have. There are no in-app purchases to worry about — instead, the game will be available through a subscription of $3.99 a month or $29.99 per year, with a 14-day free trial. And the experience has been streamlined so that kids can play with it independently. That means no tutorials or text to trip them up, and a simple and clear UI where it only takes one or two taps to get to different places in the app. “It was a very conscious decision not to have any text, because we wanted an app that was as hands-off as possible,” Huybreghts notes.
The team also worked closely with a range of advisors, including teachers, early childhood educators, and sensory experts from the US, Canada, and Australia who consulted on Playroom. In one instance, for example, signs featuring gibberish text were removed based on feedback from advisors, so that young players wouldn’t get confused while they’re learning to recognize letters. “While we have worked very closely with them, they’ve never come to us with a really big critique, which would’ve been a bad reflection on us,” Huybreghts says.
Pok Pok Playroom launches next week, and the plan is to continue to update it after launch, hence the subscription. That means adding more elements to existing toys, as well as introducing new ones. The goal is to still remain relatively small and accessible even after these expansions. “We don’t want to give kids the Netflix problem, where you’re just scrolling and scrolling and you go to bed because you can’t figure out what to watch,” says Melissa Cash.
Cash notes that “a big part of our work starts when we launch,” as the team hopes to make changes and additions based largely on the feedback from players. But for Huybreghts and Demaeght, the launch of Playroom also marks the end of one unexpected journey. What started as a quest to build an app to keep their own family occupied has turned into a brand-new company and commercial product.
“It was never meant to be a big-budget project like this,” says Huybreghts. “If I had known, I would’ve added eyebrows and noses to the people.”
Walmart appears to be getting into the streaming devices with the Onn Android TV UHD Streaming Device, according to a new listing on its website (spotted by 9to5Google). The company’s new streaming box (in this case, really more of a flattened cube) is currently listed for $29.88 but is also “out of stock” — which could be due to the fact it hasn’t been officially announced yet.
According to Walmart’s page, the Onn Android TV UHD Streaming Device can, unsurprisingly, stream in 4K and play “Dolby audio” — although there are no other specifics shared. The small device runs Android TV, connects to a TV over HDMI, and comes with what looks like a Google Assistant-enabled remote with dedicated buttons for YouTube, Netflix, Disney Plus, and HBO Max.
Design-wise, as 9to5Google notes, Walmart’s streaming device shares a lot of similarities with Google’s developer device, the ADT-3, albeit with Walmart’s electronics brand, “onn,” slapped on top. The remote that accompanies the Onn also seems to be using a new Google design that’s been rumored to come with a host of new Google TV products in 2021.
Walmart has been in a multiyear competition with Amazon over basically all forms of shopping online and off, so muscling into the streaming device market with what’s essentially a Fire Stick competitor shouldn’t be surprising. For Walmart, the streaming space has standardized and streamlined enough that it’s probably comparatively easy to come out with a cheap streaming cube, stock it in thousands of stores, and let customers do the rest.
It’s hard to not put Walmart’s device in the context of TiVo’s apparent exit from the streaming device space. Streaming sticks and boxes are increasingly becoming a game for big companies who can reach the scale and low costs that smaller companies can’t keep up with. They also tend to have a better handle on software — for Xperi, the TiVo brand’s current owner, Google integrating universal search aped the big feature that differentiated it from the competition.
The TiVo Stream 4K launched for $70, only to later drop to $39 in what seems like a bid to compete with the likes of the $50 Chromecast with Google TV, the $40 Roku Streaming Stick Plus, and Amazon’s $50 Fire Stick 4K. Assuming $30 is the Onn Android TV UHD Streaming Device’s actual price and it’s actually worth using, Walmart may be poised to start yet another race to the bottom.
I’m sticking with The Handmaid’s Tale for now; in the latest episode we see a lot of very improbable situations that need to happen in order to move the plot along but at last, finally, the main story moves away from Gilead. Does that mean things are going well for June? I don’t think it’s a major spoiler to say “nope, not really.” But we get to see some backstory for Janine, who asks June some uncomfortable questions in the present. More of that, please. The back half of the season looks promising.
Our trailers this week have a theme of sorts: Sequels. Trailers for the sequels to A Quiet Place and Stranger Things, and third trailers for Loki and In the Heights.
A Quiet Place Part 2
As my colleague Alex Cranz noted, this movie had its theatrical premiere last March but was abruptly pulled from wide release shortly after because of the pandemic. So Paramount is going to try again, because they really want to give it a run in theaters, apparently. The latest trailer shows some flashbacks (hi John Krasinski!) to the attack by the sound-sensitive aliens that wiped out most of civilization, but most of what we see is the time period immediately after the first movie’s ending. Emily Blunt and Millicent Simmonds reprise their roles from the first movie, trying to be quiet and connect with other human survivors. A Quiet Place Part 2 also stars Cillian Murphy, Noah Jupe, and Djimon Hounsou, and was directed by Krasinski. It hits theaters March 28th, and will be on the Paramount Plus streaming channel 45 days later.
Stranger Things 4
This is an unsettling preview of what Eleven’s life was like before she escaped from the facility where she had experiments performed on her— OK look. I liked the first season of this show because I am a child of the 1980s and a fan of Winona forever, and, because Millie Bobby Brown gave a spectacular performance as the abused Eleven. But I don’t know if I can sit through another season where she endures misery after misery (although, I am currently midway through the latest season of The Handmaid’s Tale so…). Please bring back Hopper for reals, show? No release date yet for Season 4, but as my colleague Andrew Webster pointed out the other day, if they don’t get on with it, the lovable kids from Hawkins, Indiana are going to be in their mid-20s before this drops. Let’s go, Netflix!
Loki Trailer 3: “Doing Great”
The god of mischief (played by Tom Hiddleston) jumps out of a plane in this latest trailer for Loki. We don’t get a whole lot of new details about what’s coming from Marvel’s latest TV series in trailer No. 3 but can this show hurry up and drop already please? Loki premieres on Disney Plus June 9th.
Halston
Ewan McGregor stars as larger-than-life fashion designer Halston who built a fashion empire amid all the excesses of the 1970s and 1980s. The miniseries also stars Bill Pullman, Vera Farmiga, Rory Culkin, and Krysta Rodriguez (as Liza Minnelli!). Halston debuts on Netflix Mary 14th.
In the Heights: 96,000
The latest trailer for the movie version of Lin-Manuel Miranda’s Broadway play In the Heights focuses on a major plot point: Someone bought a lottery ticket worth $96,000 from the bodega where main character Usnavi (played by Anthony Ramos) works. In the Heights comes to theaters and HBO Max on June 11th.
Last May, TiVo attempted to muscle in on Roku and Amazon with an HDMI streaming dongle of its own — the $70 TiVo Stream 4K, which traded in the company’s traditional live TV + DVR functionality for the likes of Sling TV, Netflix, HBO and YouTube. It now appears that attempt was so unsuccessful, the company’s planning to abandon its Android TV dongle efforts entirely.
Xperi Holdings CEO Jon Kirchner explained in an earnings call (via Zatz Not Funny) that it no longer feels it can compete using Android TV — the company likes to think its differentiator is a content guide that surfaces and lets you search for shows and movies across a variety of apps, but now that Google’s already baked something like that into its new “Google TV” layer on top of Android TV and sells it for just $50, TiVo doesn’t see much of a future there.
Here’s Kirchner, as transcribed by Seeking Alpha:
Sure, so originally as we approached the combination, we have done a lot of planning around kind of a three phase approach, starting with the Stream 4K product, which is a dongle that attaches to TVs, moving into an embedded application, where we’ll be let’s say the preferred user interface choice on a broader platform but originally around the notion that it would live on top of Android TV.
And then thirdly, going all the way into a much deeper embedded solution, embedded OS where we’re a bigger provider, where we’re really the sole primary interface for the broader content search and discovery and engagement. What has changed is last fall, Google came out and said that they intend to go beyond their core OS level offering and really get into the UX business, and in so doing it eclipses one’s ability to I think reasonably be an alternative that might otherwise live on their lower level platform.
Instead, says Kirchner, he wants to embed TiVo smarts directly in TVs — a strategy that’s worked pretty dang well for Roku, and where Amazon has been competing with Fire TV Edition sets for a few years, too.
Here’s the thing, though: while the Stream 4K was well-reviewed, it wasn’t the user interface that reviewers liked. Some of its most glowing reviews called it cluttered or confusing compared to the competition, and most concluded that it was just fine compared to slicker offerings from Roku and Amazon at or under that price. TiVo dropped the starting price of the Stream 4K to $50 at launch, and reduced it to $39 in December after Google’s $50 Chromecast had arrived.
(Pocket-lint) – When the Xiaomi Mi 11 Ultra touched down at Pocket-lint HQ it made for a moment of genuine excitement. This flagship, which has more features than, well, any other handset we’ve seen in recent times, is one of those rare moments of a company trying to be different; to standout for the right reasons.
Not only does the Mi 11 Ultra have one of the boldest screens on the market, it has a second screen on its rear too. It’s one of those unusual double-screen devices – we’ve seen other different implementations before, from the Vivo NEX Dual Display to the Meizu Pro 7 and beyond – with the Xiaomi’s smaller touchscreen integrated into the camera unit to act as a notification and control centre. You can see why the tech nerd in us got all excited, right?
Except, having used the Mi 11 Ultra for two full weeks as our own device, it’s stood out for too many of the wrong reasons. The camera bump is huge, the second screen adds nothing of genuine use (and sometimes actively gets in the way), the screen’s touch-responsiveness is unacceptably bad, and the MIUI software continues to deliver irks that, at this high-end level, simply don’t add up to the ‘Ultra’ experience we were expecting.
Design
Dimensions: 164.3 x 74.6 x 8.4mm / Weight: 234g
IP68 dust- and water-resistant (1.5m for 30 mins)
Finish options: Cosmic White, Cosmic Black
Build: Ceramic back in aluminium frame
Under-display fingerprint scanner
Upon pulling the Mi 11 Ultra from its box, it was impossible to not continually stare at the rear camera unit. That protruding bump is huge – the biggest we can ever recall seeing on a phone. At least it’s wide enough that the device doesn’t rock around when laid flat (well, flat-ish) on a desk.
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The build quality is second to none, though, especially standout if you’re seeking high-end details such as a ceramic rear, aluminium frame, water-protection, and curved screen edges. It’s every bit the flagship in such regards.
Odd, then, that the included transparent case does an assured job of undoing much of that high-end look. It’s an essential for protection, though, so we’ve had it wrapped around the phone’s body the majority of the time. But it’s just a budget translucent bit of plastic.
The reason it’s ultra-light plastic is likely to avoid adding too much additional weight to the Mi 11 Ultra’s already hefty frame. We thought the Poco X3 Pro, at 215g, was one chunky monkey. The Xiaomi tops that, at 234g. It’s not as though it’s going to hurt your wrist during use or anything, but it’s an undoubtedly heavy phone to be carting around and using day to day.
In addition to offering face unlock sign-in, the Mi 11 Ultra also has an under-display fingerprint scanner – which we’ve found generally ok, but occasionally to falter. We actually prefer the Mi 11 Lite 5G’s side-positioned one.
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Thinking about it, we actually prefer the Lite model for its overall lightweight design and eye-catching colour finish. Which really isn’t the position this Ultra should be in – being somewhat usurped by the baby in the Mi 11 range.
Rear (within camera unit): 1.1-inch AMOLED, 126 x 294 resolution
The Mi 11 Ultra’s 6.81-inch AMOLED display has some truly flagship specifications. It’s got a WQHD+ resolution, for starters, which means more pixels are packed onto its surface than you’ll find in many competitors these days. There’s also a 120Hz refresh rate to up the smoothness, which is particularly noticeable when scrolling or in some faster moving games.
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There are other headline features here, too, such as Dolby Vision for HDR (high dynamic range) playback and a peak 1700 nits brightness – meaning the maximum punch this screen can output is really, very bright. But you’re not likely to have it cranked up to the max much of the time and, actually, when it’s in lower-light conditions and the brightness falls it begins to crush black levels – a problem others, such as the Oppo Find X3, can also suffer. It’s subtle, but it’s there, and can affect those Netflix sessions.
The screen is also curved, which might look nice to the eyes, because it helps diminish the appearance of edge bezel, but in the case of the Mi 11 Ultra is an often fatal flaw. Why? Because the screen’s touch responsiveness is terrible. By this we don’t mean touch sampling rate, rather the simple fact that the software will often think the screen in being accidentally touched and ignore your input. Even really prominent input, such as when scrolling through pages, often stutters or ignores input.
There’s a software section to choose between the degree of accidental edge touch that’s permissible, or even custom adjust it, but whatever we’ve done it’s been an ongoing issue. Furthermore the screen seems to time-out – such as when watching an advert in a game, for example – and isn’t actively ready for input immediately afterwards. It can take two, three or more taps to get the device to re-engage. And that’s nothing to do with the standard 15/30/60-second auto-timeout. No, this is different. And it goes a good way in breaking the Mi 11 Ultra’s potential.
Accidental touch is something that also affects that rear display. So often we’ll have Spotify running and pick the phone up, only to accidentally skip back to the beginning of the current track. We get that having such controls available for a quick tap could be useful, but most of the time it’s just been a hindrance. And quite often the notifications, owed to poor servicing from the MIUI software, will say things like “checking for messages” from WhatsApp, for example, without delivering anything of actual use.
We’ve already said the tech nerd in us was excited about the prospect of this small second screen to the rear, as it seemed like a smart way of getting quick notifications that you could then pay further attention to. In reality, however, that’s what a full-size always-on display can do already – which the Mi 11 Ultra offers.
Plus, as we’ve come to learn when trying to watch shows in near black-out darkness, having this second screen means you don’t get to “hide” your phone from alerting you and lighting the room in one way or another – unless, of course, you turn the feature off entirely.
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Oh, but what about selfies, surely that’s where this screen comes into its own? Well, you’d think so. But to use the main cameras to shoot you’ll need to select the ‘Rear display preview’ from within the camera app, which will show you all selfie ready in that small display, but then there’s no logical way to shoot the shot. Fumble too much and you’ll likely end up clicking out of the main camera app with your fingers touching around the phone anyway. So, no, it just adds layers of confusion that needn’t be there.
Overall, then, this second screen has served as little more than a because-it-can gimmick.
Performance
Qualcomm Snapdragon 888 platform, 12GB RAM
67W fast-charging (wired and Qi wireless)
5,000mAh battery capacity
Wi-Fi 802.11 a/b/g/n/ac/6e
24-bit/192kHz audio
5G connectivity
Being a true flagship, Xiaomi has gone all-out when it comes to top-tier specification. The Mi 11 Ultra is kitted out with the Snapdragon 888 platform and 12GB RAM, so no current app is going to be a bother to run.
Pocket-lint
What is a bother, however, is as we’ve highlighted above: the screen’s response. Load up a game like South Park: Phone Destroyer and because the screen will often not register touch input, you’re left with the frequent possibility of losing during play as a direct result of this hardware/software combination. PUBG Mobile? Forget about it.
So while the Mi 11 Ultra has the capacity to deliver these games at their very best – the smoothest frame-rates and so forth – it’s irrelevant. It’s not a gamers’ phone by any means as a result.
The battery capacity, at 5,000mAh, is relatively large. Depending on how you approach using this phone that can mean decent longevity. However, given all the available features – WQHD+ resolution at 120Hz – there’s greater likelihood that it’ll be a stretch to get through the day. We’ve been just about managing it, but often with 20 per cent left after around 13 hours of use.
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Using the phone in this way will see the software suggest doing a large number of things that dumb the features down. Resolution drop. Refresh rate drop. Dark mode activation. Quicker screen auto-off. Always-on display deactivation. Disallowing apps to auto-start. The kind of things that you would otherwise want to always keep operational for that true flagship feel in use. So, in many ways, it’s as though the Mi 11 Ultra’s software is keen to hamper its performance potential.
We’ve seen Xiaomi’s MIUI software in numerous iterations and it’s often varied in its success – sometimes for no apparent reason. In the Mi 11 Lite 5G, which is our favourite in this series, we had no issues with receiving app notifications. In the Mi 11 Ultra, however, it can be temperamental. As we’ve said in many other Xiaomi/Poco/Redmi reviews (multiple brands under one roof) you’ll need to dig into the software and tinker with whether an app has no restrictions to ‘Battery Saver’ – otherwise it may not always be readily available.
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One clear positive we can highlight about the Mi 11 Ultra is the fast-charging. It’s got a 67W charger, which is among the fastest you’ll find anywhere, and makes for rapid top-ups. It’s the same for wireless charging apparently – although we haven’t been able to test and verify this. Good job, really, as that quick-to-deplete battery has a way to help keep it juiced up in little time.
Given the prominence of place given to the camera unit on the rear of the Mi 11 Ultra, it’s safe to say that it’s the most prominent feature of this flagship. It’s here that the Xiaomi often pulls its (considerable) weight, delivering images that are high quality and frequently outclass the competition.
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As a quick summary, the rear unit houses three cameras: the main wide-angle, a 24mm equivalent wide-angle with 50-megapixel resolution; a 0.5x ultra-wide with 48-megapixel resolution; and a periscope zoom, also 48-megapixel, that delivers 5x optical zoom (so a 120mm equivalent).
There’s no gimmicky lenses, no useless macro or dedicated mono sensor, just the core of what you’re really likely to want. Now, the 5x zoom is quite a ‘steep’ jump from the main sensor, but it is possible to pinch-zoom between the two with results of varying quality. You can even do this when live-recording video, which is pretty impressive in result.
As we’ve seen from pretty much every maker with multi-faceted cameras, there’s a slight disparity between the colour balance and quality from each lens though. There’s also a delay when ‘jumping’ between the available lenses – select between the main optic and 5x, for example, and you’ll first see a digital zoom from that main sensor before it suddenly updates with a different fill from the true optical zoom sensor. Not a major drama, but it’s not 100 per cent immediate when selecting between the lenses.
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: Main cameraMain camera
The Mi 11 Ultra’s ultra-wide lens is also a bit toowide-angle – we think it should be 0.6x to avoid some of the more considerable barrel distortion really. But, unlike typical 8-megapixel ultra-wide sensors, this one is capable of delivering decent quality at 12-megapixels (using four-in-one processing technology, as the Mi 11 Ultra does on all its shots).
It has to be said that the Mi 11 Ultra’s 5x optical zoom delivers crisp and clear shots. It’s particularly apparent here, because so many competitors use digital or hybrid zooms and talk them up to such an extent that you almost believe the results will be good – but nothing can beat a true optical zoom as Xiaomi has graced the Mi 11 Ultra with here.
Epic v Apple, future of projectors and more – Pocket-lint Podcast 102
By Rik Henderson
·
The main sensor is equipped with on-sensor phase detection autofocus, there’s laser autofocus too, and optical image stabilisation to keep everything smooth and sharp. It’s a well equipped sensor that delivers fine results indeed – whether in daylight, low-light, backlit or really any given set of conditions.
Pocket-lint
: Main cameraMain camera
In short: the Ultra’s forte really is found in its photography prowess. Whether it’s worth having such a giant hunk of a camera unit to the rear for the sake of that, however, is another question.
Verdict
The Xiaomi Mi 11 Ultra does a really good job of shouting “shiny, shiny!” from the rooftops and being undoubtedly alluring for all the bells, whistles, and other embellishments that make it an altogether different and standout device. It wants you to look at it and think “that’s more exciting than the Samsung Galaxy S21 Ultra” – because, from a pure features and spec point of view, it really is.
But once you brush away what are frankly excess features – some of which, such as the second rear screen, are nothing but gimmicky – you’re left with a device that fails to get many of the basics right. The screen response is unacceptably bad. The camera bump is huge – and not really worth it for the sake of that second rear screen. The MIUI software has various moments of failing to send notifications too.
The Mi 11 Ultra is a rare moment from Xiaomi. One that’s excited us more than any other phone of late. Yet, when it comes to the crunch, it’s the one Mi 11 device that’s left us ultra disappointed. The promise is huge, but it just hasn’t lived up to the potential.
Also consider
Pocket-lint
Samsung Galaxy S21 Ultra
A neater camera integration, better software, and fewer irks make the Samsung the phone that Xiaomi should have beaten – but failed to do so.
Read our review
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Xiaomi Mi 11 Lite 5G
This, our favourite of the whole Mi 11 range, is everything the Ultra isn’t: it’s lightweight, its colour finish is more eye-catching, its battery lasts longer (despite being less capacious), and, for whatever reason, the software implementation here hasn’t been problematic. You don’t get outstanding cameras by comparison, of course, but you do save two-thirds on the Ultra’s asking price. And you still get 5G connectivity!
Ubisoft announced that it’s developing a free-to-play game set in The Division’s universe, called The Division Heartland. The company also announced that a Division mobile game is in the works.
The announcement is light on details, so it’s not clear yet whether the game will be a battle royale style like Call of Duty: Warzone or Fortnite, but Ubisoft has said it’ll be coming to PC, consoles, and cloud gaming platforms at some point in 2021 or 2022. There are also basically no details about the mobile game, but Ubisoft said in a news release that more will be revealed at a later date.
It’s understandable why Ubisoft would want to launch its own version of the free-to-play and mobile shooter games: Fortnite makes billions of dollars for Epic, and CoD: Mobile alone reportedly made $10 billion in 2020. That’s not even mentioning the 100 million players for Warzone, another lucrative title.
Whether Ubisoft’s offerings in The Division universe will be as popular as its competitors remains to be seen, but Ubisoft is certainly trying to keep the game’s world culturally relevant: it’s still developing content for The Division 2, and is currently working on a movie version with Netflix starring Jake Gyllenhaal.
It’s been a long time since Netflix first announced Stranger Things 4 — the upcoming fourth season of the streamer’s hugely popular series — but there’s finally a new trailer teasing the next adventures of the Hawkins gang.
The new teaser appears to be a flashback, showing the sinister Dr. Martin Brenner addressing a group of children at the same facility that Eleven (Millie Bobby Brown) originated from. Presumably, the new season will continue to explore Eleven’s origins, as well as potentially introduce other supernatural children (something the show has explored before back in season 2.)
The new trailer is technically the second for the upcoming fourth season, following a teaser released back in February 2020 that promised the return of the — spoilers for season 3 — presumably dead (in an extradimensional portal explosion) Chief Jim Hopper, played by David Harbour. Based on the captions of the two videos (001/004 and 002/004, respectively), it seems that fans should expect two more teasers on the way at some point.
The lengthy amount of time between that last teaser and today’s new trailer is because Netflix was only able to get in two weeks of filming at the beginning of 2020 due to the onset of the COVID-19 pandemic; work on the series only resumed last September.
Netflix has yet to announce a release date for the fourth season, but presumably, with the marketing campaign ramping up again, it won’t be too far off before Stranger Things 4 debuts.
Safari just doesn’t support key features — and Safari’s the only option
Something keeps coming up at the Epic v. Apple trial as a potential alternative for getting Fortnite on the iPhone: web apps. It’s an intriguing idea, as web apps are able to do surprisingly complex things: just look at a Chromebook or even game streaming services on the iPhone. But potential is far from reality, because the ability for web apps to look, feel, and perform as well as native apps on iOS is severely limited.
These web apps aren’t the preferred way for consumers or developers to use or create apps on the iPhone, either. But Apple has forced companies like Microsoft and Nvidia to use web apps, instead of native ones available in the App Store.
Though the term itself hasn’t really come up explicitly, what’s being discussed are Progressive Web Apps, or PWAs. If you’re unfamiliar, think of them as slightly more advanced web apps that you can “install” directly from your web browser on to your home screen. Google has been pushing the idea (though support for PWAs on its own platforms is a little mixed), and some companies like Microsoft and Twitter have wholeheartedly embraced PWAs.
Not Apple, though. There are a variety of reasons for that — ranging from genuine concern about giving web pages too much access to device hardware to the simple fact that even Apple can’t do everything. There’s also the suspicion that Apple is deliberately dragging its feet on support for features that make PWAs better as a way to drive developers to its App Store instead.
But the App Store has restrictions that aren’t tenable for some developers. That’s the whole crux of this trial for Epic, after all. On the stand, a Microsoft executive detailed the company’s struggles to get its xCloud game streaming service onto iOS. Lori Wright, VP of Xbox business development at Microsoft, revealed the company spent around four months talking to Apple to try and get xCloud launched as a native app. Apple seemed, initially open to the idea of letting Microsoft use the same model as Netflix or Audible. But Apple changed its mind and forced Microsoft, Nvidia, and others to list cloud games as separate apps.
Submitting Xbox games one-by-one was simply a nonstarter for Microsoft, so it resorted to making a web app. In addition to the technical hurdles a web app involves, it also introduces a discoverability issue. Users simply aren’t used to installing apps from the web on their iPhones. Apple has effectively trained everybody that if they want an app, they go to the App Store.
Wright essentially admitted that the only reason Microsoft is releasing Xbox Cloud Gaming (xCloud) as a web app is because Apple’s terms on the App Store are too onerous. “People don’t play games through the browser on iPhone,” said Wright, but “it was our only outcome in order to reach mobile users on iOS.”
Even the judge in the case seemed confused by Apple’s rule, which says that services that stream movies can offer them all in a single app but services that stream games have to separate each game for individual listing and review. “I can use Netflix with a native app and I can see lots of different movies or TV shows or whatever. Is it that you didn’t want to use a subscription model?” Judge Yvonne Gonzalez Rogers asked at one point.
But back to those technical hurdles: they’re tall, numerous, and can be blamed both on the nature of web apps and Apple’s own decisions. Safari on the iPhone only recently became capable of supporting a service like Xbox Cloud Gaming via specific controller support. Until then, that sort of thing was on the list of features Apple was reticent to include in Safari. There are legitimate reasons to block things like Bluetooth access from web apps, including fingerprinting for tracking, but it was getting harder to justify and Apple needed some kind of escape valve as pressure mounted to support cloud gaming services.
Google software engineer Alex Russell recently published a very comprehensive list of all the features that Safari on iOS doesn’t support yet — and it’s a long list. For PWAs to truly be a viable alternative to App Store apps, there are at least a few of these features that need to be enabled. The inability to send push notifications via a web app, for example, is particularly galling as it’s already possible on Safari on macOS. An app that can’t send notifications is simply not competitive with an app that can.
Grant is touching on some more of the benefits to native versus web apps; push notifications and ARKit both come up. The former is another example of Apple letting native apps reduce friction points — Epic needs to convince the judge these smaller features are meaningful.
— Adi Robertson (@thedextriarchy) May 5, 2021
As Russell notes, his “interests and biases are plain” as a Google engineer. But it doesn’t change the fact that there are many things that a PWA cannot do on the iPhone that a developer like Epic would need to support Fortnite as a web app.
“Native [iPhone] apps would have access to a far wider range of APIs than web apps,” explained Andrew Grant, engineering fellow at Epic Games, during the trial. “Access to things like push notifications, to Siri, to health data, and augmented reality features” are also limited to native apps, said Grant. Web apps also have to be far smaller than native apps, and are capped at about 50MB in size.
Plus, from a simple performance perspective, web apps have more overhead than native apps — and lack access to Apple APIs that can speed up games like Fortnite.
In fact, this was a sticking point for a lot of the questioning of an Nvidia employee. Nvidia, like Microsoft, has been trying to get its GeForce Now cloud gaming service into the App Store, but has faced the same restrictions that Microsoft is struggling with. Nvidia director of product management Aashish Patel spent a lot of time answering questions around latency in a browser and the benefits of using native apps.
“There are less controls over the streaming, so you could argue in some ways it’s worse,” than a native app, said Patel. Developers are also locked into using the video codecs provided in Safari on iOS, whereas they could use alternatives that might be better at handling latency inside a native iOS app.
All of this is compounded by yet another Apple policy: no third party browser engines. You can install apps like Chrome, Firefox, Brave, DuckDuckGo, and others on the iPhone — but fundamentally they’re all just skins on top of Apple’s Webkit engine. That means that Apple’s decisions on what web features to support on Safari are final. If Apple were to find a way to be comfortable letting competing web browsers run their own browser engines, a lot of this tension would dissipate.
As it relates to Epic v. Apple, a lot of this PWA discussion isn’t germane to the fundamental arguments in the case. Fortnite as a PWA would necessarily be a streaming app instead of a native game and that introduces an entirely different set of compromises. Which is why it’s so fascinating to see Apple’s lawyers float web apps as a potential solution — because web apps on the iPhone are famously more limited than they are on other platforms, including even Apple’s macOS.
The human-readable versus machine-readable code bit is back now — Grant is talking about how web apps don’t go through the same kind of compilation process that increases processing efficiency, yet another reason they’re not as good as native apps.
— Adi Robertson (@thedextriarchy) May 5, 2021
Even if every single browser feature was available on mobile Safari or even if Apple allowed alternative browser engines on the iPhone, a web app will never match the performance of a native app. At the end of the day, though, all the discussion of web apps in the Epic v. Apple case highlight the limitations of Apple’s App Store policies, not PWAs.
Getting asked to shoot five weddings for a massively popular Netflix show might seem like a dream opportunity, but according to photographer Megan Saul, the show’s producers weren’t planing on paying for it. In a Facebook post on May 4th, she says she was contacted by Kinetic Content (the company producing Love Is Blind for Netflix) about working with them on the show, but was told in a follow-up email that, instead of money, the company was offering the opportunity for her work to appear in promotional materials and magazines (via PetaPixel).
In her post Saul says that getting the email was “super exciting for all of 20 minutes,” until she found out that she was being asked to basically donate her time and expertise. She called the request “insulting to artists,” calling on corporations to pay contractors and artists when they want work done. “Bottom line, this is offensive,” she wrote.
Asking artists to work for free may be audacious, but common — there are entire Twitter accounts dedicated to companies and people asking for unpaid work with promises of “exposure,” or getting their work seen by others. Some people see this as an opportunity to get their name out, in the hope that a future paying client will see their work and contact them. Others say it undervalues artists’ work — would you ask an engineer to design a building for free because a lot of people might see it?
Regardless of where you fall in the debate, the producers are asking for a lot. Shooting weddings is grueling, exhausting work and Kinetic Content is asking the photographer to do that five times. Plus, as Saul points out in her Facebook post, getting her work in magazines and Netflix promos isn’t going to pay for her gear, insurance, or employees that she needs to help shoot a wedding. “It’s clearly more than my time I am donating for a major corporation to profit on my work,” she writes.
Netflix makes a lot of money, and has a huge budget for producing content. We don’t know why Kinetic Content wanted free work, since neither Kinetic Content nor Netflix responded to a request for comment.
In 2020, Microsoft was battling to bring xCloud or Xbox Game Streaming to the iPhone and iPad, and the conversations had an unlikely victim: Shadow — a third-party cloud gaming app that lets you stream PC games to an iPhone or iPad.
Emails between Microsoft and Apple, revealed in the Epic v. Apple trial today, show how the Xbox maker was trying to get xCloud on iOS. Microsoft was trying to figure out how Shadow, Netflix, and other similar “interactive” apps were able to exist in the App Store while Apple was refusing to approve xCloud. Microsoft put forward Shadow as an example of such a service, only to see it suddenly removed from the store.
“We were showing two examples where a game or an application was able to exist, and we didn’t understand why we couldn’t,” explained Lori Wright, Microsoft’s head of business development for Xbox, during the Epic v. Apple trial today. “I believe they [Apple] ended up pulling Shadow out of the App Store based off this email we sent until they submitted changes. That was not our intention of course, it was a byproduct.”
While Shadow’s removal wasn’t permanent, Apple has temporarily removed the app from the App Store twice in the past year. Shadow was first removed in February last year, with Apple reportedly citing a “failure to act in accordance with a specific part of the Apple App Store Guidelines.” Apple once again removed Shadow from the App Store in February, and the app returned a week later.
Shadow revealed that the app was removed the second time “due to a misunderstanding” around the nature of the app. “Unlike game streaming services, Shadow provides a full Windows 10 PC, rather than a library of games,” explained Luc Hancock, a community manager for Shadow. “This unique approach allows Shadow to comply with the App Store guidelines, so that you can access your Shadow PC on any iOS device to run your favorite games and software.”
Valve struggled for more than a year to launch its Steam Link game streaming service on iOS. Apple rejected the app, likely because it allowed an iOS user to access another app store, Steam, within Apple’s tightly controlled ecosystem. Apple revised its rules after rejecting Steam Link, and the app was finally approved two years ago in May 2019.
Apple continued to make it difficult for services like xCloud and Stadia to run the way Microsoft and Google wanted to on iOS devices after those conversations, only slowly making App Store policy carve-outs that would let the services operate under severe restrictions. Apple now insists that developers individually submit games as separate apps using their streaming tech, only then bundling them together as a “catalog”-style app.
Microsoft wasn’t impressed with Apple’s approach, calling it a “bad experience for customers.” This public spat has now boiled over into the courtroom battle between Epic Games and Apple, with lawyers on Epic’s side questioning Microsoft and Nvidia representatives about their struggles to bring cloud gaming apps to iOS.
Both Microsoft and Nvidia have had to give in to Apple’s restrictions and launch their cloud gaming services through the Safari web browser instead.
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