World’s First Projection-Based Digital Photo Frame Hits Ceilings

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Most of our favorite memories live on tiny screens, buried in albums we never open anymore, or lost in endless camera rolls and grids we rarely revisit. The digital photo frame tried to bring them back into our lives, but always with a border, a size limit, and a sense of separation from the room around it that made memories feel confined and distant rather than integrated.

PixyBeam reimagines what it means to display your moments and the stories they tell about your life and relationships. Instead of a frame that confines images to a fixed size, it uses projection to turn any wall or ceiling into a living gallery, filling your space with the stories, colors, and faces that matter most.

Designer: Innoscend

Click Here to Buy Now: $349 $499 ($150 off). Hurry, only 8/15 left!

Imagine family moments being projected on the ceiling above your child’s bed, family photos drifting across the living room wall during quiet evenings together, or a creative portfolio that turns your studio into a dynamic showcase for clients and collaborators who visit. PixyBeam makes memories part of your everyday environment, blending nostalgia with the present in a way that feels immersive and emotionally present throughout your day.

The device’s minimalist, rounded design with its soft white finish fits anywhere without demanding attention or clashing with your carefully chosen decor and furniture. It sits quietly on a shelf or table until it’s time to bring your space to life. The compact form means you can move it from room to room as your needs change throughout the day or week.

Setting up PixyBeam is as simple as placing it on any flat surface, plugging in USB-C power, and opening the companion app on your phone. Within minutes, your space becomes a living gallery. There’s no need for wall mounts, complicated menus, or learning curves that take hours to master before you can enjoy your first projection. The app lets you upload photos and short clips, organize galleries by mood or event, and invite friends to share moments.

Over 20 animated gallery styles turn slideshows into expressive, moving displays that feel fresh and alive with personality. The app’s dynamic templates let you match the vibe to any occasion, whether it’s a birthday celebration, holiday gathering, or just a quiet evening reflecting on travels and adventures you’ve had. Each style brings personality and movement to your photos rather than simply fading between static images.

With the innovative Guest Share feature, photo sharing becomes an experience, not a chore. A simple scan of a QR code lets friends and family beam their own photos and short clips straight onto your wall, no cables, no accounts to juggle. It’s instant, intuitive, and social: a living gallery that grows with every visit, where everyone contributes to the story unfolding across the room.

PixyBeam’s all-glass short throw lens projects vivid, 1080p images up to 200 inches across, even in small apartments or bedrooms with limited space. The 900 ANSI lumens engine ensures images are bright and clear throughout the day or night, while adaptive color calibration keeps photos looking true-to-life on any wall, whether it’s white, beige, or painted in bold hues you’ve chosen.

Autofocus and keystone correction mean you always get a sharp, perfectly aligned picture with just a tap on the device or through the app without manual fiddling. The 90-degree rotating lens lets you project upward to the ceiling or out across the room without moving the base, adapting to wherever the moment feels right without complicated repositioning or manual adjustments that interrupt the experience.

The magic of PixyBeam is how it dissolves the boundaries between technology and home entirely, making digital memories feel organic and present. A birthday slideshow becomes part of the party atmosphere, vacation photos turn a hallway into a visual travelogue, and creative work finds a new canvas that’s as big as your imagination allows without physical constraints.

PixyBeam’s compact body, soft finish, and zero-hardware setup blend into any decor without permanent installation or visible mounting brackets. The device includes 32GB of internal storage for offline playback, smart home integration via Matter for automation, and intuitive controls that anyone can master immediately. For anyone who wants their home to feel more personal, PixyBeam offers a compelling new way to turn your empty space into a canvas for the moments that matter most.

Click Here to Buy Now: $349 $499 ($150 off). Hurry, only 8/15 left!

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World’s Comfiest Mouse looks legitimately ugly… but it somehow works

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I remember being in the third year of design college when I was introduced to this massive book titled “Indian Anthropometric Dimensions.” For the uninitiated, this book contained practically all the dimensions of the average (and non-average) Indian person, male and female, old and young. The purpose of such a book was to understand ergonomics numerically, rather than visually. And for designers, this meant adding the ultimate constraint to our wild designs… so humans could actually use them.

This YouTuber’s take on an ergonomic mouse is the antithesis of everything I was taught. The problem is, however, it works! See, designers have to balance this ergonomic approach with actual aesthetics. That’s why ergonomic mice actually look stylish, rather than being shaped exactly like the inverse of your hand. It’s why gun grips look the way they do; why bike seats, or car seats have an abstract-ness to them, and don’t actually have your individual buttocks molded into their designs. The world’s comfiest mouse works, but at a rather painful aesthetic cost!

Designer: Play Conveyor

Play Conveyor’s design process ignites a pretty strong debate between aesthetics and comfort. The Apple Magic Mouse, for example, is a prime example of the former completely ignoring the latter… and almost every mouse (even the ergonomic ones) aim at trying to achieve a balance between the two. Play Conveyor’s experiment swings the pendulum the absolute opposite way – what if a mouse was hideous as sin, but legitimately comfortable?

The process starts fairly simply. Play Context first ripped apart a wired mouse to see what the inner components looked like. He then 3D printed a plastic chassis on which he added play dough, filling in all the negative space created by his hand. This basically turned the mouse into a direct inversion of his hand, creating something that quite literally fit like a glove. After the play dough model was made, he scanned it, refined it, and printed it. What we see here is pure anthropometrics at work – no design, no aesthetic study, nothing.

What’s interesting is how accessible the whole process has become. A decade ago, this would’ve required industrial equipment, professional 3D scanners, and a hefty budget. Now it’s an iPhone, a 3D printer that costs less than a decent laptop, and some squishy molding compound. The democratization of manufacturing tools means anyone can now ask the question: what if products were designed for me, specifically me, and nobody else? It’s selfish design in the best possible way.

The first iteration (top left) was way too sharp, with jagged edges left behind either during the molding process or the scanning process. Play Context merely softened the edges down to create something that looks like, well, the Millennium Falcon covered in goo. Cutouts was added for left and right clicks, but soon ditched for actual hinged buttons, along with a central groove for the scroll wheel.

The final result is, well, a mouse that’s too ugly to be seen in the outdoors. It’s also a mouse that uniquely ONLY fits the ergonomic grip of one user. The justification for this can be two-fold: First, just accepting that there’s no way a company would be able to mass-produce this. People have different grips, different hand sizes, and even usage frequencies. That’s why companies like Logitech or Razer make mice the way they do, blending ergonomics with a healthy dose of aesthetics to have peripherals that actually look good while functioning flawlessly. The second justification, however, is for more edge-cases. Maybe a mouse designed for someone with Parkinsons, or with a genuine handicap or special need. We’ve seen special-needs gaming controllers from Sony for the PlayStation and Microsoft for the Xbox, but they’re mass-produced too. What if we could somehow build outer bodies of gadgets to suit our anthropometric needs? As Play Context demonstrates, the process is fairly easy, requiring only a 3D printer as a specialized equipment. All you need is a fair bit of free will, determination, and play dough!

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RISD’s $100K Loop Lab Creates Art Supplies From Campus Waste

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The Rhode Island School of Design has discovered something remarkable hiding in plain sight: their trash bins contain tomorrow’s art supplies. Through the newly launched Loop Lab initiative, what once headed to landfills now becomes raw material for the next generation of designers and artists. The Edna W. Lawrence Nature Lab spearheaded this ambitious pilot project with backing from a substantial $100,000 grant from the Maxwell/Hanrahan Foundation. The concept appears deceptively simple yet revolutionary in practice. Rather than purchasing new materials while simultaneously discarding potentially useful waste, RISD has created a closed-loop system that transforms campus refuse into studio-ready resources.

Walking through the Loop Lab reveals an almost alchemical process. Blotter paper that once absorbed spilled paint finds new life as a substrate for experimental work. Cotton muslin scraps, previously destined for disposal, emerge as carefully prepared materials ready for student projects. The transformation extends beyond mere recycling, representing a fundamental shift in how educational institutions can approach resource management. Students participate directly in this material resurrection, learning firsthand about circularity principles while solving practical design challenges. The hands-on approach ensures that sustainability becomes integral to creative education rather than an abstract concept discussed in theory classes.

Designer: Rhode Island School of Design

Each transformed material carries embedded stories about waste reduction, resourcefulness, and environmental responsibility. Recent media attention from design publication Dezeen highlights the broader implications of RISD’s approach. The coverage emphasizes how the initiative addresses what project leaders call “the lowest hanging fruit” in institutional sustainability efforts. By focusing on internal waste streams, the school creates immediate impact while developing scalable solutions for other educational institutions. The timing proves particularly significant as design schools worldwide grapple with sustainability mandates and environmental consciousness among students.

Loop Lab offers a practical framework that other institutions can adapt, creating measurable change without requiring massive infrastructure investments or complete curriculum overhauls. Material circularity research forms the theoretical backbone of the project, but practical applications drive daily operations. The lab expands understanding of how discarded matter can inform regenerative design practices, presenting students with materials that carry environmental narratives alongside creative possibilities. Each project becomes an exploration of both aesthetic potential and ecological responsibility.

The Nature Lab’s documentation through social media platforms reveals ongoing discoveries and successes. Students share their experiences working with transformed materials, creating a growing archive of circular design practices that extends the project’s influence beyond campus boundaries. Loop Lab represents more than waste reduction or cost savings. The initiative fundamentally questions traditional material sourcing while providing tangible alternatives. Students graduate with direct experience in circular design principles, carrying these approaches into professional practice where sustainable material choices increasingly influence client decisions and project outcomes.

As design education evolves to meet environmental challenges, RISD’s Loop Lab demonstrates how institutions can transform operational necessities into educational opportunities. The pilot project’s success suggests a future where campus waste streams become integral components of creative curricula, turning every scrap into a story worth telling. This innovative approach positions RISD at the forefront of sustainable design education, creating a model that combines environmental stewardship with creative excellence while preparing students for a future where circular design principles define industry standards.

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Beekeeb Toucan: The Split Ergonomic Keyboard Built for Travelers

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The Beekeeb Toucan asks a question that ergonomic keyboard enthusiasts have been wrestling with for years: why should comfort stay home? Split keyboards and columnar layouts have long belonged to desk-bound workers, their benefits tethered to permanent workstations and cable management systems. This 42-key wireless design challenges that assumption.

Designer: Beekeeb

Two halves sit independently, angled outward to match natural shoulder width. Keys follow a columnar stagger rather than traditional row offset. Each key positions directly beneath a finger’s natural arc of movement. These principles are well-established in ergonomic design, but the Toucan’s interpretation focuses on what most split keyboards treat as secondary: portability without compromise.

Engineering Movement Into Ergonomics

Material choices reveal priorities. An anodized aluminum top plate provides structural rigidity and premium typing surface, while 3D-printed construction sheds weight from the bottom case. This hybrid approach answers the specific demands of travel: constant packing, unpacking, shifting between surfaces that may or may not be level. The result weighs significantly less than comparable mechanical keyboards yet maintains the solid feel necessary for confident typing. Low-profile Kailh Choc V1 switches keep everything close to the desk surface, reducing wrist extension while preserving tactile feedback.

The columnar stagger deserves particular attention. Traditional keyboards offset keys horizontally because that layout accommodated typewriter mechanisms, not human anatomy. But fingers move more naturally up and down than side to side. Aligning keys in vertical columns adjusted for each finger’s length reduces lateral reaching and finger curling. Small reductions compound significantly over hours of use.

Placing a 40mm circular touchpad on the right keyboard half solves a familiar problem for anyone who has tried maintaining ergonomics while traveling. Laptop trackpads force users to center their body with the screen, pushing the keyboard into asymmetric position. External mice require desk space and introduce reaching movements that negate split layout benefits. The Toucan’s integrated trackpad keeps both hands on home position. Cursor control becomes thumb movement rather than arm extension, maintaining portability while eliminating separate pointing devices through the Cirque GlidePoint sensor’s precision tracking in a compact footprint.

This integration matters particularly for mobile work environments where desk space is limited or nonexistent. Coffee shop tables. Airplane tray tables. Hotel desks. These spaces punish conventional ergonomic setups that sprawl across multiple square feet, but the Toucan consolidates typing and pointing into two connected halves that adapt ergonomic principles to constrained real estate.

Efficiency Through Component Selection

The memory-in-pixel display on the left half exemplifies the keyboard’s efficiency-focused design. This technology, borrowed from smartwatch engineering, updates only changed pixels rather than refreshing the entire screen, dramatically reducing power consumption compared to conventional displays. Battery life can extend to 4,000 hours on a modest 1,500 mAh cell when paired with ZMK firmware. That figure is not theoretical. ZMK optimizes wireless efficiency through aggressive power management, putting the keyboard into deep sleep between keystrokes and waking instantly when needed.

The open-source nature allows users to customize power profiles, though even default settings deliver weeks or months between charges depending on usage patterns. Beyond efficiency metrics, the display serves practical ergonomic purposes: current layer information, battery status, and connectivity indicators appear without requiring users to memorize LED blink patterns or consult software. This immediate feedback reduces cognitive load and maintains workflow continuity, particularly valuable when switching between devices or adjusting layouts on the fly.

ZMK firmware provides more than power efficiency. Open-source programmability allows users to adapt the keyboard to their specific ergonomic needs rather than conforming to preset layouts. Key positions can be remapped to reduce finger stretching. Frequently used combinations consolidate to single keys. Custom layers accommodate different tasks without abandoning muscle memory. This flexibility becomes particularly valuable for users with specific ergonomic requirements. Someone with limited finger mobility can consolidate modifier keys to thumb clusters, while a user prone to repetitive strain can spread common key combinations across multiple fingers. The ability to experiment with different configurations without hardware limitations transforms the keyboard from static tool into adaptive interface.

The open-source heritage traces back through the Piantor to the Cantor design, demonstrating how community-driven development can accelerate ergonomic innovation. Each iteration addresses real-world feedback from actual users, refining dimensions, switch positions, and feature integration based on practical experience rather than marketing assumptions.

Compromises and Considerations

Split keyboards traditionally require users to choose between portability and features. Compact designs sacrifice programmability or build quality, while feature-rich options become too bulky for travel. The Toucan attempts to resolve this through modular availability options: DIY kits at $189 appeal to enthusiasts comfortable with soldering and assembly, offering the lowest entry price while maintaining complete control over switch selection and build quality. Pre-soldered options at $298 eliminate assembly complexity but still require sourcing keycaps and switches separately. Fully assembled units with switches and keycaps push toward $352, competing directly with established options like the ZSA Voyager at $365.

That pricing positions the Toucan as a considered purchase rather than impulse buy. However, the Voyager lacks wireless connectivity and integrated pointing, requiring additional purchases for equivalent functionality. The Keychron Q13 Max, while more affordable at $250, weighs substantially more and uses wired connection that limits portability. The optional carrying bag reflects practical travel considerations. Split keyboards create packing challenges with two separate pieces, exposed switches, and electronics. A purpose-designed case protects components while keeping both halves together during transit.

The Toucan does not eliminate all compromises inherent to portable ergonomics. The 42-key layout requires layers for numbers, function keys, and special characters, creating a learning curve for users accustomed to dedicated keys for every function. This cognitive overhead can temporarily reduce productivity during the transition period. The Choc V1 switch ecosystem offers fewer options than standard MX switches. While tactile, linear, and clicky variants exist, enthusiasts seeking specific force curves or exotic switch types will find selection limited. Keycap availability similarly constrains customization, with Choc spacing requiring dedicated sets that cost more and offer fewer aesthetic options than MX keycaps.

Battery procurement adds friction to the purchase process, as shipping regulations prevent Beekeeb from including batteries. Users must source compatible cells separately. While standard hobby batteries work, this extra step complicates what should be straightforward unboxing. These limitations reflect genuine constraints rather than oversights. Compact layouts inherently sacrifice dedicated keys for portability, niche switch formats will always offer less variety than dominant standards, and battery shipping restrictions affect all manufacturers equally. Understanding these trade-offs helps potential users evaluate whether the Toucan’s strengths align with their specific needs.

Portable Ergonomics as Design Goal

The fundamental proposition the Toucan advances: ergonomic benefits should not require permanent workstation installations. Coffee shop workers, digital nomads, frequent travelers, and anyone who splits time between multiple locations have historically chosen between comfort and mobility. Heavy split keyboards stay home. Laptop keyboards cause strain but pack easily.

By packaging columnar layout, split design, integrated pointing, and extended battery life into travel-friendly form factor, the Toucan suggests a third option. Ergonomics become portable. The setup that reduces wrist strain at a home desk can accompany users to temporary workspaces without requiring compromises in either direction.

Whether this approach succeeds depends on individual priorities. Users who value maximum key count, premium switch feel, or comprehensive keycap selection will find the Toucan’s compromises too limiting. Those who prioritize portability above all else might find even this compact design too complex compared to minimalist 40% layouts. But for workers who move between locations while maintaining significant typing demands, the Toucan addresses a genuine gap. It proposes that ergonomic design can serve movement rather than constraining it, that comfort can travel alongside laptops and cables rather than waiting at dedicated desks.

The question is not whether everyone needs this approach. It is whether enough people recognize they have been making unnecessary compromises.

The Beekeeb Toucan is available for pre-order starting at $189 for DIY kits, with shipments beginning in December. Pre-assembled options with switches and keycaps reach approximately $352.

The post Beekeeb Toucan: The Split Ergonomic Keyboard Built for Travelers first appeared on Yanko Design.

This Bridge-Shaped House Hangs Weightlessly Between Two Forested Hillsides

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Amid the dense, monsoon-fed vegetation of Karjat, India, The Bridge House by Wallmakers, under the direction of architect Vinu Daniel, appears as if it were woven into the landscape itself. A natural stream has carved a seven-meter-deep gorge through the terrain, splitting the land into two disconnected parcels. What could have been a limitation became the defining opportunity to create a dwelling that does not conquer the landscape but hovers above it, merging architecture with the act of crossing.

Rather than filling the void, Wallmakers chose to span it, crafting an occupiable bridge that physically and symbolically unites the site. Since no foundations could be placed within the 100-foot spillway, the design evolved into a suspended home anchored delicately by only four footings on either side of the gorge. The result is a structure that appears to levitate, a line of lightness drawn between two fragments of land.

Designer: Wallmakers

Necessity became invention. The form of The Bridge House emerged from the challenge of building across a natural divide without disturbing it. Conceived as a 100-foot-long suspension bridge, the home is composed of four hyperbolic parabolas, mathematical forms that achieve strength through geometric efficiency. Steel tendons and pipes provide tensile stability, while a thatch-and-mud composite forms the compressive shell.

This combination, simultaneously ancient and modern, generates a dialogue between tension and compression, precision and softness. The house becomes both structure and skin, taut like a bowstring yet flexible enough to adapt to the living landscape.

True to Wallmakers’ ethos of contextual minimalism, the house sits lightly upon its site. The thatched surface, arranged in overlapping scales reminiscent of a pangolin’s skin, blends seamlessly with the forest canopy. Beyond aesthetics, this cladding provides thermal insulation, maintaining cool interiors amid Karjat’s humid climate.

The decision to use only four anchoring points ensures that the gorge and its contours remain untouched. The house becomes a visitor, not an intruder, in the ecosystem it occupies.

Every material used in The Bridge House carries intention. The mud plaster coating that envelops the thatch serves as both armor and adhesive: it prevents pests from entering, enhances compressive strength, and eliminates the need for vertical pillars. In doing so, it underscores the project’s central belief that material intelligence can achieve structural innovation without technological excess.

Inside, the design continues its conversation with nature. At the core of the house lies an oculus, an open circle framing the sky. During rainfall, water filters through this void into a central courtyard, transforming the climate into a sensory event. The interplay of light, water, and air activates the interior, making the house respond to every passing hour.

The interiors are minimal yet warm, defined by reclaimed ship-deck wood, jute, and woven mesh screens that modulate light and airflow. Four bedrooms open outward, some toward the treetops, others overlooking the stream, creating a rhythmic dialogue between enclosure and exposure. The transitions are seamless: the line between “inside” and “outside” dissolves into filtered light and moving shadows.

In The Bridge House, Wallmakers once again demonstrate their mastery of building with the land, not on it. The project stands as an exploration of local materials, structural logic, and ecological sensitivity, a philosophy that defines Vinu Daniel’s work across India.

Suspended above the gorge yet rooted in its context, The Bridge House does more than connect two parcels of land. It connects technology with tactility, structure with story, and human presence with the pulse of nature. In doing so, it reimagines architecture not as a static object, but as a living, breathing bridge between worlds.

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The Lisbon Airport is turning away private jets inbound for the Web Summit

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Startup founders and government officials have been confronted with a unique flavor of first-world problem at this year's Web Summit, Financial Times reports. The Lisbon Airport has been forced to turn some private jets away, sending flights to seek runway space at airports as far away as Badajoz, a Spanish city two hours away from Lisbon.

The issue might come with the territory. Web Summit is a technology business conference that tends to attract investors, startups and high-profile keynote speakers — this year's conference features talks from the CEO of Qualcomm and the President of Microsoft, for example — many of whom prefer to fly private. That poses a problem for the Lisbon Airport. 

"Please be advised that there is currently a shortage of private jet slots during Web Summit at Lisbon Airport (LIS) and surrounding smaller airports," Web Summit organizers reportedly told attendees. "Lisbon Airport is experiencing difficulty managing the volume of traffic, resulting in a lack of available take-off and landing slots for all operations."

FT writes that this kind of airport bottleneck is a first for the conference, and likely caused as much by a growing predilection for private jets as it is the larger number of attendees at this year's Web Summit. Setting aside the environmental impact of flying private, you'd think all those brilliant minds could come up with some kind of solution beyond flying further away and driving into Portugal. Maybe a jet that hundreds of people can charter at once?

This article originally appeared on Engadget at https://www.engadget.com/big-tech/the-lisbon-airport-is-turning-away-private-jets-inbound-for-the-web-summit-222136161.html?src=rss

Stanley’s Pour Over Kit Might Be the Last Coffee Brewer You’ll Ever Need to Buy

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The brand famous for its tumblers (and how incredibly durable they are) is looking to upend the coffee industry too. Stanley’s ‘Perfect Pour Over Brew Set’ is the company’s take on pour-overs, redesigning them in a way that’s simple, robust, and reusable. The set features a pour-over top (with a metal filter) and and a Stanley cup for its base. No coffee filters, no disposable liners. Every inch of this brew set is designed for travel, durability, and sustainability.

The Perfect Pour Over Brew Set’s design feels unmistakably ‘Stanley’. The simple metal outer construction, with powder-coated color-ways. The Stanley logo front and center, and a 2-part design that’s simple yet ruthlessly effective, whether you’re brewing a cuppa in your kitchen or the great outdoors. I guess the Perfect moniker suits it, no?

Designer: Stanley

Click Here to Buy Now

The pour-over set is capable of brewing anywhere from your standard 8oz cup, to a whopping 1.4 quart (44.8 oz) bottle. Its wide top holds enough grounds to make a large batch for an entire family or your average caffeine-addict. You don’t need anything more than what the Perfect presents you with. No scales, no fancy kettle to pour water, not even a coffee filter. The Perfect’s upper element features a 2-part design, with a lower half that unscrews to reveal a fine perforated mesh filter. This reduces waste but also ensures cleaning remains a breeze… but as far as pouring goes, all you do is load the top over your Stanley mug (it even fits the larger Stanley bottles), add the grounds, and pour hot water up until the line marked on the inside.

Once you’ve poured out the hot water, the process takes anywhere in the 5-10 minute range depending on how much coffee you’re making. A single cup doesn’t take long, and once the water’s percolated, your cup of coffee is ready to enjoy – either immediately, or on the go, thanks to a sipper lid that comes with the brew set, designed for the mug. Cleaning the upper portion out is simple. Just suspend it over a waste bin and tap vigorously against the sides to make the grounds fall out. Then, just rinse with water and your brew set is ready for round 2.

Just like their tumblers, this one is built to survive pretty much anything. Whether it’s your standard LA girlie brewing coffee in her boutique apartment’s kitchen, or the average outdoor lover taking this to the campsite for a cup of joe, the Perfect Pour Over Brew Set travels really well, and its color palette lends itself perfectly to the outdoor landscape, your tailgating setup, or even that KitchenAid mixer or Smeg fridge adding vibrant life to your kitchen!

Click Here to Buy Now

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The redesigned Disney+ app is rolling out to more users in the US

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Disney is rolling out its redesigned interface for Disney+ to more users in the US today. The redesign brings the streaming service in line with the loud, key art-forward approach of Netflix, and follows a price increase for both tiers of Disney+ that the company introduced in October.

The biggest change in the new Disney+ is the addition of a horizontal navigation bar with separate tabs for recommendations (For You), Disney+, Hulu and ESPN. Disney is leaning on a new algorithm that better uses your viewing history to make recommendations, and it now also integrates live TV streams via a dedicated tab in its vertical menu. Outside of the US, the new interface is also being paired with the rebranding of Disney's Star streaming service to Hulu.

The new interface is the latest step in Disney's plan to eventually completely fold Hulu into Disney+ in 2026. The Hulu has a dedicated tab in the app, but eventually it'll just be one of the many sources of content Disney+ collects. Meanwhile, the live TV component of Hulu + Live TV will eventually be merged with Fubo, creating an even larger YouTube TV competitor that Disney will have 70 percent stake in. The growing competition between Google and Disney could be one of several reasons the companies have yet to settle the carriage dispute that's currently blocked channels like ABC and ESPN on YouTube TV.

This article originally appeared on Engadget at https://www.engadget.com/entertainment/streaming/the-redesigned-disney-app-is-rolling-out-to-more-users-in-the-us-204759533.html?src=rss

Finally, You Can 3D-Print Real Silicone Molds and Gaskets on Your Prusa 3D Printer

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Anyone who’s worked with flexible 3D printing filaments knows their limitations; TPU and TPE only go so far, and nothing on the desktop market has matched the heat resistance and elasticity of real silicone. We’ve been stuck making parts that feel rubbery but fail the moment they get too warm or need to seal properly. That’s all changed with the arrival of Prusa’s new XL printhead, developed in collaboration with Filament2. This toolhead uses a pioneering dual-filament system to produce actual, industrial-grade silicone prints, a feat that moves desktop printing into a whole new category of material science.

Instead of extruding a simple thermoplastic, this system feeds two liquid-core filaments into the nozzle, where their outer sheaths are stripped away. The liquid silicone components are then mixed and cured in real time as they are deposited. This is not some rubber-like substitute; it is genuine silicone with all its useful properties, created right on the print bed of a standard Prusa XL. The elegance of containing the entire two-part mixing process within a clean, self-contained filament and toolhead system is a massive engineering win, solving the mess and complexity that has kept liquid printing out of reach for most people until now.

Designer: Prusa

This method completely sidesteps the need for the clumsy pumps and reservoirs seen in previous experimental liquid printers. The genius is in the filament itself. By encasing the two liquid parts in a stable sheath, Filament2 has created something that handles just like a standard spool of PLA. The printhead does the heavy lifting, performing a micro-scale version of what you would do with a two-part epoxy, but with incredible precision. You get the benefits of a reactive polymer without the hazardous mess, which opens up a world of possibilities for creating functional, end-use parts, not just look-alike prototypes.

Think about the immediate applications for this technology. In the automotive world, the ability to print custom, one-off silicone gaskets, seals, and vibration dampeners is a game changer for restoration and prototyping. No more waiting weeks for a custom mold or settling for a close-enough part. For product designers, this means creating truly functional prototypes with soft-touch grips, flexible waterproof seals, and even custom ergonomic components for wearables. Because silicone is skin-safe and can be sterilized, it also opens up possibilities for custom medical models and assistive devices. We are talking about end-use parts, not just look-alike models.

The choice to launch this on the Prusa XL platform is also incredibly clever. The XL’s main selling point is its automatic tool-changing capability, which suddenly makes it the perfect machine for true multi-material fabrication. You could print a rigid nylon housing with one toolhead, then have the printer automatically swap to the silicone head to print integrated waterproof seals and vibration-dampening feet onto the same part in a single, uninterrupted job. This elevates the machine from a multi-color printer to a genuine multi-property manufacturing station. It’s a level of automation and material integration that was previously reserved for machines costing tens of thousands of dollars.

Now, it’s important to keep expectations grounded. This will not be as simple or cheap as printing with standard PLA. The specialized filament from Filament2 will undoubtedly carry a premium price, and I anticipate a learning curve. The process requires incredible precision; any imbalance in the mixing ratio or inconsistency in the liquid cores could lead to failed prints where the silicone doesn’t cure properly. We still need to see long-term reliability data and learn about the maintenance requirements for a printhead that handles what are essentially reactive adhesives. Still, even as a niche application, it pushes the entire industry forward by showing what’s possible when you rethink the entire printing process, from the filament spool to the nozzle tip.

The post Finally, You Can 3D-Print Real Silicone Molds and Gaskets on Your Prusa 3D Printer first appeared on Yanko Design.

Bioware says next Mass Effect is still in development despite turmoil at EA

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Development on the next Mass Effect is still underway, Mass Effect executive producer Mike Gamble confirmed in a blog post celebrating the series' "N7 Day" fan holiday. Bioware shared that it had started work on the new game in 2020, but Electronic Arts' decision to go private have naturally called the future of the series into question.

Gamble's blog post doesn't share many details about the new game beyond the fact that Bioware "is heads-down and focused exclusively on Mass Effect." What does seem more clear is that the game could have some kind of connection to the Mass Effect TV show currently in development at Amazon. "The writers room is going strong, and we’ve got a lot figured out about how it fits within the Mass Effect canon, and where it sits in respect to the new game," Gamble says. Notably, the series is set after the events of the original trilogy of games, and follows a new story in the universe's timeline. "It won’t be a retread of Commander Shepard’s story." 

Dragon Age: The Veilguard, Bioware's last game, was not the smash hit EA apparently wanted it to be, and Bioware has appeared to go through a period of contraction in response. High-profile senior staff were let go in January 2025, and even before the game was released, EA began moving Bioware developers to other studios. EA itself may also be adjusting its larger game development strategy. Following its proposed acquisition, the publisher announced a partnership with Stability AI in October to create new AI-powered tools to better streamline its development process.

The Mass Effect series is beloved, and Mass Effect: Legendary Edition, the 2021 remaster that packaged all the trilogy's DLC and games into a single package, was a great reminder. With a new entry and a TV show in the works, Bioware seems poised for a comeback. It just needs to survive EA until then.

This article originally appeared on Engadget at https://www.engadget.com/gaming/bioware-says-next-mass-effect-is-still-in-development-despite-turmoil-at-ea-200000050.html?src=rss