When selecting a smartphone, performance is often a critical factor influencing your decision. The speed, efficiency, and multitasking capabilities of a device can significantly shape your daily experience, from launching apps to gaming and managing multiple tasks simultaneously. This detailed comparison evaluates the Galaxy S26 Ultra, iPhone 17 Pro Max, and OnePlus 15 across key […]
Flashlight manufacturers love to brag about lumen counts, but raw output means very little when the beam profile can’t match the task at hand. A spotlight punches distance but leaves your peripheral vision in the dark. A floodlight washes everything in even brightness but can’t reach past thirty meters. LOOPGEAR’s SK05 Pro 2 solves this by housing both emitter types in a single body, controlled independently through a Rose Gold rotary dial that snaps between modes with mechanical precision. This is the second generation of their dual-light platform, and the performance gap between versions is staggering. Spotlight output jumped 92 percent, from 1300 lumens to 2500, while the floodlight climbed 24 percent to 3800 lumens.
The SK05 Pro 2 measures 106mm long, 47.8mm wide, and 22.5mm thick, a form factor that sits somewhere between a smartphone and a multi-tool. Two 18650 cells run in parallel, giving you 8000mAh of capacity that charges devices at up to 12 volts, a rare feature in the EDC flashlight category. LOOPGEAR offers two emitter choices for the floodlight: Nichia 519A for high color rendering or RE-SF18-W for higher raw output. Both versions use the same SFT42R LED for the spotlight channel. The entire package shares the same machined metal body, IP68 waterproofing, magnetic base, and integrated sidelight with true white and RGB modes. The body ships in black or white MAO (matte anodized) finishes, and the overall design language leans heavily into tactical geometry with angular cutouts and textured gripping surfaces.
The rotary dial controls everything, and its mechanical feedback feels deliberate in a way touchscreens and membrane buttons never will. Twist clockwise and you cycle through the spotlight’s four brightness levels: 40 lumens for map reading, 320 for general navigation, 950 for serious illumination, and a 2500-lumen turbo that steps down after 40 seconds to prevent overheating. Twist counterclockwise and you access the floodlight’s range, from a 50-lumen low that won’t destroy your night vision to the 3800-lumen turbo that lights up a campsite like midday. Hold the dial for two seconds and both emitters fire simultaneously, combining for 5000 lumens of output that reaches 410 meters in the spotlight channel. The dial itself is CNC-machined with knurling that grips even when wet, and the detents are firm enough that accidental mode changes in a pocket or bag are nearly impossible.
Two 18650 batteries slide into the body from the bottom, both oriented the same direction thanks to the parallel wiring configuration. This setup has practical advantages beyond the 8000mAh total capacity. If one cell dies mid-trip, the light continues running on the remaining battery, albeit at reduced runtime. The cells LOOPGEAR includes are standard 4000mAh units, meaning replacements are easy to source. The USB-C port sits on the side, protected by a magnetic metal flap that seals tight enough to maintain the IP68 rating. Charging happens at up to 22 watts, which fills both batteries in roughly three hours. What separates this from most rechargeable flashlights is the powerbank output capability, specifically the ability to deliver 5V, 9V, or 12V depending on what your device negotiates. Most EDC lights with powerbank features max out at 5V, which limits you to slow-charging phones and basic USB accessories. The SK05 Pro 2 can fast-charge a laptop, power a USB-C monitor, or run higher-voltage gear in the field.
The sidelight runs along the length of the body, a COB (chip-on-board) LED strip that outputs white light in four brightness levels or switches to RGB mode for signaling and ambient lighting. LOOPGEAR upgraded this to a high-CRI emitter in the Pro 2, and the difference is immediately visible when you’re working on anything that requires color accuracy. The white mode ranges from a sub-lumen moonlight setting that lasts over 100 hours to a 120-lumen high that floods your immediate workspace without the harshness of the main emitters. The RGB mode cycles through red, green, and blue, useful for preserving night vision, map reading, or just making the light visible in a packed bag. The sidelight activates through a separate button near the dial, so you can run it independently or combine it with either the spotlight or floodlight for layered illumination.
LOOPGEAR machined the body from metal (likely aluminum based on the weight-to-size ratio) and applied a matte anodized finish that resists scratches and provides grip without being aggressively textured. The corners are chamfered, the sides feature cutouts that reduce weight and add visual interest, and the overall aesthetic skews tactical without crossing into mall-ninja territory. A magnetic base sits at the tailcap, strong enough to hold the light vertically on a car hood or toolbox while you work hands-free. The pocket clip along with a separate nameplate mount via screws (included, along with the installation tool), and you can position it in multiple orientations depending on how you carry. At 231 grams with batteries loaded, this sits heavier than a typical EDC pen light but lighter than most full-size tactical flashlights, and the flat profile distributes that weight in a way that disappears in a cargo pocket or bag.
The competitive landscape for dual-emitter flashlights is sparse, mostly because the engineering complexity tends to drive prices into the $200-plus range where brands like Acebeam and Nitecore operate. LOOPGEAR positioned the original SK-05 Pro around $150, and early indications suggest the Pro 2 will land in similar territory despite the significant performance upgrades. That puts it well below premium dual-channel lights while offering comparable (in some cases superior) output and feature density. The closest analog is probably the Acebeam E70, which offers similar throw and flood capabilities but weighs more, costs more, and lacks the powerbank voltage flexibility. The Sofirn IF22A delivers comparable spotlight performance at a lower price, but it’s a single-emitter design with no floodlight option and no powerbank functionality.
The SK-05 II Pro currently retails at $113.98, down from the original $159.99 list price, a $46 discount that positions it aggressively below the dual-channel competition. Comparable lights from Acebeam and Nitecore typically land in the $180 to $200 range, and most lack the multi-voltage powerbank capability that makes the LOOPGEAR viable as a backup charging solution for higher-draw devices. LOOPGEAR ships the light with both 18650 cells, a USB-C charging cable, pocket clip hardware, and installation tools, so you’re field-ready out of the box. The company’s track record with the original SK-05 Pro and the LOOPDOT platform suggests consistent firmware updates and responsive customer support, which matters when you’re trusting a single device to handle both illumination and emergency power in remote environments. Whether this becomes your primary EDC light depends on whether you value dual-emitter flexibility over the slimmer profile of a traditional cylindrical flashlight, but at this price point with this feature set, few competitors deliver comparable performance per dollar.
BYD may be known for its affordable all-electric cars, but that doesn't mean it won't dabble in the occasional hypercar under one of its subsidiary brands. Through its Denza subbrand, BYD unveiled the Denza Z, a hypercar that can push out more than 1,000 horsepower with an all-electric motor, at the Beijing Auto Show. According to CarNewsChina, the Denza A can hit 0 to 60 mph in less than two seconds, rivaling the likes of the Rimac Nivera.
BYD first showed off the Denza Z as a concept during the Shanghai Auto Show in 2025. A year later, the Chinese EV maker confirmed its latest hypercar as a four-seater that will come in hard-top, convertible and "track" configurations. BYD hasn't revealed the Denza Z's full specs yet, so we're not sure what differentiates the track edition. So far, the company has shared that it would use the company's intelligent suspension system called DiSus-M, which is similar to Chevrolet Corvette's Magnetic Ride Control, and its Flash Charging system. BYD also told AutoExpress that the Denza Z will have some of the features seen with the BYD's YangWang U9, like autonomous driving and "tank turning."
Surprisingly, BYD is planning to release the Denza Z to Europe first, with an inaugural ride at the Goodwood Festival of Speed in the UK in July. The automaker hasn't revealed pricing yet, but it should be more available than BYD's other hypercar under its YangWang subsidiary that's limited to 30 units.
This article originally appeared on Engadget at https://www.engadget.com/transportation/evs/byds-next-all-electric-hypercar-is-a-convertible-thats-coming-to-europe-first-233050130.html?src=rss
There’s a certain restraint in the decision to let a building hover. Not every architect earns that move. Along the rugged Atlantic coastline of Nova Scotia, Canadian studio Omar Gandhi Architects has completed the East River Residence — a home that doesn’t so much sit on the landscape as suspend itself above it, perched on slender steel columns that let the rocky terrain breathe freely underneath.
The project was conceived for a couple relocating from Montreal, trading city life for something quieter, more grounded, more defined by the presence of the Atlantic. On the first visit to the site, the architects followed the coastline inward through a dense stand of forest, arriving at a soft valley held between two steep, rocky inclines. That natural bowl — rather than being fought or filled — became the entire logic of the building.
The result is a home that reads like a bridge. It spans the depression between two embankments, and the terrain flows underneath it the way water would. Hidden from the shore by thick forest, the only way to encounter it is to go inland, walk along the coast, and let it reveal itself gradually — which feels entirely intentional. This isn’t a house that announces itself. It listens.
The roofline is where the architecture gets genuinely expressive. The gable follows the rhythm of the land below it — rising over the rocky outcrops, dipping low at the main living space to pull in southern light and create a sense of interior intimacy, then lifting again at the yoga studio to expand the room toward the sky. Each shift in section corresponds to a shift in how the space feels, and how the view outside changes with it.
Materially, the home stays close to its coastal context. The palette is dark and restrained — chosen to disappear into the treeline rather than compete with it. Steel, wood, and shadow do most of the talking. The structure was built by Blueprint Construction with structural engineering by Design Point, and the technical execution of suspending a full residence above challenging terrain is considered as the architecture itself.
Photographed by Felix Michaud, the images capture something that most architecture photography misses: the feeling of a building that genuinely belongs where it is. The East River Residence isn’t trying to conquer its site. It’s floating above it, quietly, letting the land remain exactly what it was — which, as architectural philosophies go, is a rare and admirable one.
There’s a certain restraint in the decision to let a building hover. Not every architect earns that move. Along the rugged Atlantic coastline of Nova Scotia, Canadian studio Omar Gandhi Architects has completed the East River Residence — a home that doesn’t so much sit on the landscape as suspend itself above it, perched on slender steel columns that let the rocky terrain breathe freely underneath.
The project was conceived for a couple relocating from Montreal, trading city life for something quieter, more grounded, more defined by the presence of the Atlantic. On the first visit to the site, the architects followed the coastline inward through a dense stand of forest, arriving at a soft valley held between two steep, rocky inclines. That natural bowl — rather than being fought or filled — became the entire logic of the building.
The result is a home that reads like a bridge. It spans the depression between two embankments, and the terrain flows underneath it the way water would. Hidden from the shore by thick forest, the only way to encounter it is to go inland, walk along the coast, and let it reveal itself gradually — which feels entirely intentional. This isn’t a house that announces itself. It listens.
The roofline is where the architecture gets genuinely expressive. The gable follows the rhythm of the land below it — rising over the rocky outcrops, dipping low at the main living space to pull in southern light and create a sense of interior intimacy, then lifting again at the yoga studio to expand the room toward the sky. Each shift in section corresponds to a shift in how the space feels, and how the view outside changes with it.
Materially, the home stays close to its coastal context. The palette is dark and restrained — chosen to disappear into the treeline rather than compete with it. Steel, wood, and shadow do most of the talking. The structure was built by Blueprint Construction with structural engineering by Design Point, and the technical execution of suspending a full residence above challenging terrain is considered as the architecture itself.
Photographed by Felix Michaud, the images capture something that most architecture photography misses: the feeling of a building that genuinely belongs where it is. The East River Residence isn’t trying to conquer its site. It’s floating above it, quietly, letting the land remain exactly what it was — which, as architectural philosophies go, is a rare and admirable one.
Smart has always had a knack for making the smallest cars feel like big ideas. The original two-seater wasn’t just about transportation; it was a statement about how little you actually need to move through a city. With the smart Concept #2, that philosophy doesn’t just return, it gets reinterpreted through a far more expressive, almost fashion-led lens.
At first glance, the proportions instantly take you back. The compact, upright stance, near non-existent overhangs, and wheels pushed right to the corners are all deliberate callbacks to the original Fortwo. But this isn’t nostalgia for the sake of it. The Concept #2 stretches to about 2.79 meters subtly growing to create a bit more usable interior space while remaining firmly in microcar territory.
What’s interesting is how smart has shifted the conversation from pure utility to identity. The brand calls it “Function becomes Fashion,” and it shows. The matte white and warm gold two-tone finish feels more like a wearable than a vehicle, while details like strap-inspired elements on the bumpers and door handles borrow cues from luxury accessories rather than traditional automotive design. There’s even a subtle influence of sneaker culture in the textures and tire patterns, turning what would otherwise be functional surfaces into design statements.
This shift matters because the original smart succeeded in cleverness but struggled to evolve emotionally. Concept #2 attempts to fix that by making the car feel personal. It’s less about squeezing into tight parking spots (though it still excels at that) and more about how the object itself fits into your lifestyle. Underneath the stylized surface is a thoroughly modern EV architecture. Built on Smart’s new Electric Compact Architecture, the concept is designed to deliver the kind of urban usability that today’s drivers expect. The projected range sits close to 186 miles, which is more than sufficient for daily city use, while DC fast charging from 10 to 80 percent takes under 20 minutes, essentially the time it takes to grab a coffee.
The packaging remains its strongest trick. The signature “wheels-at-the-corners” layout maximizes cabin space within that tiny footprint, while a tight 6.95-meter turning circle makes the car feel almost pivot-like in dense urban environments. It’s the kind of manoeuvrability that reminds you why cars like the original Fortwo made sense in the first place. There’s also a subtle shift in how the car integrates into daily life. Features like Vehicle-to-Load (V2L) hint at a future where even the smallest cars double as mobile power sources—useful for everything from charging devices to supporting outdoor activities.
The bigger picture is just as important. Since becoming a joint venture between Mercedes-Benz and Geely, Smart has moved upmarket with crossovers and SUVs. Concept #2 feels like a deliberate course correction, returning to the brand’s core idea, but doing so with a premium edge shaped by Mercedes-Benz design sensibilities. Set to evolve into a production model debuting at the Paris Motor Show in late 2026, the Concept #2 is less of a wild design exercise and more of a near-production preview. That makes its details (both practical and expressive) feel intentional rather than experimental.
Smart has always had a knack for making the smallest cars feel like big ideas. The original two-seater wasn’t just about transportation; it was a statement about how little you actually need to move through a city. With the smart Concept #2, that philosophy doesn’t just return, it gets reinterpreted through a far more expressive, almost fashion-led lens.
At first glance, the proportions instantly take you back. The compact, upright stance, near non-existent overhangs, and wheels pushed right to the corners are all deliberate callbacks to the original Fortwo. But this isn’t nostalgia for the sake of it. The Concept #2 stretches to about 2.79 meters subtly growing to create a bit more usable interior space while remaining firmly in microcar territory.
What’s interesting is how smart has shifted the conversation from pure utility to identity. The brand calls it “Function becomes Fashion,” and it shows. The matte white and warm gold two-tone finish feels more like a wearable than a vehicle, while details like strap-inspired elements on the bumpers and door handles borrow cues from luxury accessories rather than traditional automotive design. There’s even a subtle influence of sneaker culture in the textures and tire patterns, turning what would otherwise be functional surfaces into design statements.
This shift matters because the original smart succeeded in cleverness but struggled to evolve emotionally. Concept #2 attempts to fix that by making the car feel personal. It’s less about squeezing into tight parking spots (though it still excels at that) and more about how the object itself fits into your lifestyle. Underneath the stylized surface is a thoroughly modern EV architecture. Built on Smart’s new Electric Compact Architecture, the concept is designed to deliver the kind of urban usability that today’s drivers expect. The projected range sits close to 186 miles, which is more than sufficient for daily city use, while DC fast charging from 10 to 80 percent takes under 20 minutes, essentially the time it takes to grab a coffee.
The packaging remains its strongest trick. The signature “wheels-at-the-corners” layout maximizes cabin space within that tiny footprint, while a tight 6.95-meter turning circle makes the car feel almost pivot-like in dense urban environments. It’s the kind of manoeuvrability that reminds you why cars like the original Fortwo made sense in the first place. There’s also a subtle shift in how the car integrates into daily life. Features like Vehicle-to-Load (V2L) hint at a future where even the smallest cars double as mobile power sources—useful for everything from charging devices to supporting outdoor activities.
The bigger picture is just as important. Since becoming a joint venture between Mercedes-Benz and Geely, Smart has moved upmarket with crossovers and SUVs. Concept #2 feels like a deliberate course correction, returning to the brand’s core idea, but doing so with a premium edge shaped by Mercedes-Benz design sensibilities. Set to evolve into a production model debuting at the Paris Motor Show in late 2026, the Concept #2 is less of a wild design exercise and more of a near-production preview. That makes its details (both practical and expressive) feel intentional rather than experimental.
Two months following the deadly shooting in Tumbler Ridge, British Columbia, OpenAI's Sam Altman has formally apologized for not informing police of the alarming ChatGPT conversations seen with the suspect's account. Before the incident, OpenAI banned the account belonging to the alleged shooter, Jesse Van Rootselaar, for violating its usage policy due to potential for real-world violence.
"I am deeply sorry that we did not alert law enforcement to the account that was banned in June," Altman wrote in the letter. "While I know words can never be enough, I believe an apology is necessary to recognize the harm and irreversible loss your community has suffered."
Altman noted in the letter, which was published in full by Tumbler RidgeLines, that he spoke with both Darryl Krakowa, Tumbler Ridge's mayor, and David Eby, the British Columbia premier, and agreed that a "public apology was necessary, but that time was also needed to respect the community as you grieved."
Eby, who also highlighted Altman's letter in his post on X, agreed that the "apology is necessary," but added that it was "grossly insufficient for the devastation done to the families of Tumbler Ridge." Moving ahead, Altman reaffirmed in the letter that OpenAI would "find ways to prevent tragedies like this in the future" and work with all levels of government to prevent something like this from happening again. Altman's latest commitment builds on the previous letter from OpenAI's vice president of global policy Ann O’Leary, who said the company would notify authorities if it finds "imminent and credible" threats in ChatGPT conversations.
This article originally appeared on Engadget at https://www.engadget.com/ai/openais-sam-altman-apologizes-for-not-reporting-chatgpt-account-of-tumbler-ridge-suspect-to-police-221400813.html?src=rss
Two months following the deadly shooting in Tumbler Ridge, British Columbia, OpenAI's Sam Altman has formally apologized for not informing police of the alarming ChatGPT conversations seen with the suspect's account. Before the incident, OpenAI banned the account belonging to the alleged shooter, Jesse Van Rootselaar, for violating its usage policy due to potential for real-world violence.
"I am deeply sorry that we did not alert law enforcement to the account that was banned in June," Altman wrote in the letter. "While I know words can never be enough, I believe an apology is necessary to recognize the harm and irreversible loss your community has suffered."
Altman noted in the letter, which was published in full by Tumbler RidgeLines, that he spoke with both Darryl Krakowa, Tumbler Ridge's mayor, and David Eby, the British Columbia premier, and agreed that a "public apology was necessary, but that time was also needed to respect the community as you grieved."
Eby, who also highlighted Altman's letter in his post on X, agreed that the "apology is necessary," but added that it was "grossly insufficient for the devastation done to the families of Tumbler Ridge." Moving ahead, Altman reaffirmed in the letter that OpenAI would "find ways to prevent tragedies like this in the future" and work with all levels of government to prevent something like this from happening again. Altman's latest commitment builds on the previous letter from OpenAI's vice president of global policy Ann O’Leary, who said the company would notify authorities if it finds "imminent and credible" threats in ChatGPT conversations.
This article originally appeared on Engadget at https://www.engadget.com/ai/openais-sam-altman-apologizes-for-not-reporting-chatgpt-account-of-tumbler-ridge-suspect-to-police-221400813.html?src=rss
The first time I came across the Oberhauser Balloon, I genuinely thought I was looking at a sea creature. That rough, porous sphere covered in glowing craters looks less like a lamp and more like a bioluminescent organism that washed in from a very stylish ocean floor. It’s the kind of design that stops you mid-scroll and makes you question what you thought you knew about materials, about form, and about what outdoor lighting is even allowed to be.
The Balloon is the work of studiooberhauser, an outdoor luminaire available in three sizes: 30 cm, 70 cm, and 100 cm in diameter. That largest version, by the way, currently holds the distinction of being the largest known 3D-printed lamp made from cement. I’m not usually one to get swept up in record-breaking superlatives, but that one genuinely deserves a pause. A one-meter sphere of printed concrete that glows through dozens of organic apertures? That’s not just a lamp. That’s a landmark.
Designer: studiooberhauser
What makes this piece genuinely fascinating beyond its striking appearance is how it’s actually made. The Balloon is produced using a process called Selective Cement Activation, or SCA, also known as powder bed concrete 3D printing. In accessible terms, cement paste is selectively injected into a powder bed, building the form layer by layer without traditional formwork or molds. The result is that those complex, organic-looking cavities and curves covering its surface aren’t decorative appliqués or hand-carved afterthoughts. They’re structural possibilities that only exist because of this technology. Traditional concrete manufacturing simply wouldn’t allow it.
I think that distinction matters more than it might initially seem. The Balloon’s aesthetic doesn’t sit on top of its process like a skin. The process is the aesthetic. The granular, almost velvety texture visible across its surface is a direct physical record of how the material was constructed, layer by microscopic layer. You can’t fake that kind of authenticity, and it’s becoming rarer to find in objects that have been designed with both genuine rigor and intention. It gives the piece a raw, tactile quality that polished or lacquered surfaces can’t replicate, and it’s the reason the Balloon looks genuinely alive in a way that most contemporary lighting simply doesn’t.
The sustainability piece is also worth unpacking, not as a marketing checkbox but as a real material advantage. 3D concrete printing is inherently resource-efficient because material is deposited precisely where it’s needed, and nowhere else. No excess formwork, no significant waste, no bulky industrial molds destined for disposal. For an outdoor product built to weather years of sun, rain, and temperature swings, that kind of considered production feels right for this moment. We’re at a point in design culture where how something is made carries as much weight as how it looks, and the Balloon holds up on both counts.
The sizing range also gives it unexpected versatility. The 30 cm version reads as intimate and considered, the kind of piece you’d set along a garden path or beside a water feature on a small terrace. The 70 cm has enough presence to anchor a courtyard or frame an outdoor dining area. And the 100 cm version operates on an entirely different level. Looking at the photos of it glowing against an evening garden setting, it calls to mind the grounds of a boutique resort on the Amalfi Coast or a sculpture garden somewhere in the French countryside. It functions equally as a practical light source and as something you’d deliberately design an entire landscape around.
Concrete has been threading through design conversations for years, mostly as a signifier of industrial cool or minimalist restraint. The Balloon feels like the point where that material story evolves into something far more ambitious. It’s not concrete deployed for mood or aesthetic shorthand. It’s concrete pushed to do something it has never done before, shaped by a process that leaves its fingerprints all over the final form. And to me, that’s the clearest signal of where design is heading: not just making beautiful objects, but fundamentally rethinking what familiar materials are capable of from the ground up.
