While the US and Anthropic are in the midst of a major dispute, the UK is trying to sway the San Francisco-based AI company to expand its presence on English soil. According to a report from The Financial Times, staffers at the UK's Department for Science, Innovation and Technology have worked on proposals that include expanding Anthropic's office in London, along with a potential dual stock listing.
The UK's strategy follows a public fallout between Anthropic and the US Department of Defense earlier this year. After the AI company said it wouldn't budge on certain AI guardrails, the Department of Defense pulled its contract and eventually designated Anthropic a supply chain risk. While the designation is currently temporarily blocked by a court-ordered injunction, the feud is far from over. In the meantime, the UK's efforts to court Anthropic have ramped up in the recent weeks thanks to the company's disagreements with the US, according to FT's sources.
With no end in sight for the debacle with the Department of Defense, Anthropic's CEO, Dario Amodei, is expected to visit the UK in May, according to FT. However, even in London, Anthropic will have to compete against OpenAI, which already committed to expanding its footprint in the English capital in February.
This article originally appeared on Engadget at https://www.engadget.com/ai/the-uk-government-reportedly-wants-anthropic-to-expand-its-presence-in-london-174201049.html?src=rss
Cats knocking things off tables is old internet. It predates memes as a concept, predates YouTube, predates the entire visual language of digital humor. It is perhaps the most documented animal behavior in human history, captured billions of times, studied by actual ethologists, and still inexplicably funny every single time. Fabio Ferrari has taken this behavior and made it load-bearing, literally, designing a 3D-printed table lamp where a seated cat figure tilts the shade off-axis mid-push, and the resulting tension between lampshade and gravity is the entire point of the object.
Printed white in PLA, the classical turned column and drum shade read as a proper lamp, and the cat sits alongside it with one paw extended toward the column, head craned upward, frozen in that particular expression of focused feline mischief that every cat owner recognizes immediately. The layer lines on the print dissolve into surface texture at this scale, giving the whole thing an almost ceramic quality. It lands on a desk or nightstand and earns a second look from anyone who passes it.
Ferrari released the STL pack on Cults3D in late March 2026, priced at $4.04 after a 50% discount, and it pulled 102 downloads and 7,000 views within days, which for a single-designer listing on a platform with 3.2 million models is a genuinely strong signal. The pack ships five files covering two body variants sized for different bulb lengths, plus a supplementary shade that covers the bulb completely for a cleaner look.
The recommended material is white or marble PLA, though PETG and resin both work, and the print settings are straightforward: 15 to 20 percent infill for the shade, higher for the cat and base to keep the center of gravity honest. The shade is the only component that needs supports, and Ferrari is emphatic that the lamp column itself should print support-free since anything inside that channel will obstruct the wire routing.
The lamp works with standard E12, E14, or E27 bulb kits depending on how you scale it, and the warm ambient glow it throws makes it best suited on a nightstand or shelf light rather than serving task lighting. At roughly 250 to 294mm tall depending on the variant, it has enough physical presence to read across a room without overwhelming a surface.
The design sits in an interesting lineage. Seletti’s Monkey Lamp and the broader wave of anthropomorphic lighting that swept through the design-forward homeware market in the 2010s established that people would pay serious money for a lamp with a personality. What Ferrari has done is democratize that impulse entirely, collapsing the distance between a $300 design object and a $4 STL file and a weekend print. Just make sure you aim for 25% or higher infill or the balance goes awry. You wouldn’t want a lightweight cat actually knocking your lamp over, right?!
Samsung is putting the final nail in the coffin for its own messaging app. The smartphone maker posted an "End of Service Announcement" on its website, revealing that the Samsung Messages app will no longer be available by July of this year. Samsung also recommended that anyone still using Samsung Messages switch over to Google Messages as the default messaging app.
For Samsung Messages users in the US, the switch to Google offers RCS messaging that lets you send high-quality media, join group chats and get real-time typing indicators no matter the smartphone's OS. Galaxy smartphone owners may lose out on some of the Samsung Messages customization options, but Google Messages will make up for it generative AI from Gemini that can remix your photos in chats. On top of those features, Google Messages makes it easier for Samsung users to switch chats between a smartphone, tablet or smartwatch.
It's no surprise that Samsung is only using Google Messages from now on, since it has been phasing out Samsung Messages for a few years now. Dating back to the Galaxy Z Fold 6 and Flip 6, and then followed by the Galaxy S25 series, Samsung stopped preloading the Samsung Messages app and instead pre-installed the Google Messages app. The Samsung Messages app is still available on the Galaxy Store, but Samsung said the exact final date will eventually be announced on the app itself.
This article originally appeared on Engadget at https://www.engadget.com/mobile/smartphones/samsung-will-discontinue-its-messages-app-in-july-and-replace-it-with-googles-162204307.html?src=rss
French aerospace startup Beyond Aero has just completed the Preliminary Design Review (PDR) of its hydrogen-electric business jet, the BYA-I One, a significant step that moves the aircraft firmly into detailed design and verification and one step closer to its target commercial entry in 2030. Founded in Toulouse in December 2020, Beyond Aero first unveiled the BYA-I concept at the Paris Air Show in June 2023. Since then, the aircraft has evolved considerably, and the PDR marks the most mature version yet.
The review confirmed the full integration of hydrogen storage, electric propulsion, thermal management, fuel cell systems, and safety architecture into what the company describes as a certifiable design. The propulsion setup is the heart of the story. The BYA-I One uses a twin pusher-configured propfan system, a shift from the earlier ducted-fan arrangement, powered by six 400kW hydrogen fuel cells delivering a combined 2.4MW of power, with a total propeller shaft output of 950kW.
Gaseous hydrogen is stored at 700 bar in externally mounted tanks above the wing structure, with a refueling time of just 30 minutes. The aircraft emits only water vapor in flight, making it one of the cleanest propulsion concepts in business aviation today. A custom-designed Full Authority Digital Engine Control (FADEC) system ensures precise performance across all flight phases and will be certified under a TC Engine framework.
On performance, the numbers are compelling. The BYA-I One is designed to carry up to eight passengers over a range of 800 nautical miles at 300 knots, covering more than 80% of current European business aviation routes. It has a maximum speed of 414 mph, a ceiling of 26,000 feet, and a takeoff ground roll of just 725 meters, short enough to serve constrained airports like London City, and can operate from grass, snow, and unpaved surfaces.
Inside, the cabin stretches 1.84 meters wide and 1.7 meters tall, wider than most light jets, with a six-seat club configuration. Elliptical windows are 27% larger than those found in conventional business jets, flooding the interior with natural light. With 90% fewer moving parts and no high-temperature turbine, maintenance costs are projected to drop by up to 60%, and overall operational costs could fall by 40–60% compared to conventional jets.
Market appetite is already strong, with Beyond Aero securing $914 million in Letters of Intent across 108 aircraft, and a waiting list for booking deposits is now open. The certification path runs through EASA, where Beyond Aero is actively collaborating to develop special conditions for hydrogen-electric aircraft, essentially helping write the rulebook for an entirely new category of flight. If the 2030 timeline holds, the BYA-I One won’t just be another business jet. It’ll be the first of its kind.
The MacBook Neo represents Apple’s deliberate effort to make macOS accessible to a broader audience. As an entry-level laptop, it is designed to meet basic computing needs while introducing users to the macOS ecosystem. This device is not merely a product; it is a cornerstone of Apple’s strategy to foster user loyalty and deepen integration […]
Apple’s transition to USB-C on the iPhone brings practical upgrades that go beyond charging convenience. Phones & Drones highlights one notable feature: device-to-device power sharing, which allows an iPhone to charge other devices like Android phones, wireless earbuds, or even another iPhone. By connecting two devices with a USB-C cable, the iPhone automatically transfers power […]
Modular seating tends to be either complicated or a compromise. The sectional sofa has never really solved the fundamental problem that living situations change, people move, and the enormous L-shaped configuration that worked in your last apartment probably doesn’t fit your new one. Furniture that adapts to circumstance sounds like an obvious idea, but the designs that actually pull it off cleanly remain surprisingly rare.
Liam de la Bedoyere, the designer behind Bored Eye Design, takes a direct approach to the problem with Bunch, a modular seating concept that begins from a deceptively simple premise. Each unit is a fully functional lounge chair on its own. The idea, however, is that it was designed from the beginning to combine with others, and the way it does that is where the concept gets genuinely interesting.
The mechanism is in the staggered relationship between the two parts of each chair. The backrest sits elevated and set back, while the seat extends forward, creating a stepped profile from the side. That offset is precise enough that when a second chair is placed alongside it, the seat of one slides naturally into the space left open by the recessed back of the other. No connectors, no assembly, just geometry.
The result, when two or more units are pushed together, is a sofa that reads as a continuous and intentional piece rather than a row of chairs touching each other. The staggered rhythm carries across the joined units, producing a silhouette that looks considered rather than accidental. It’s the kind of configuration that takes a moment to understand, but once you do, it feels like it couldn’t have worked any other way.
The standalone chair holds up on its own terms, too, and isn’t just a sofa segment that happens to function independently. It sits directly on the floor with no visible legs, giving it a relaxed lounge quality. The proportions keep the form compact enough to live in smaller spaces, which matters when the concept is something you might realistically buy gradually, one unit at a time.
Both the backrest and the seat share the same rounded-rectangle silhouette, upholstered in a thick, textured fabric with the warmth of bouclé. That material, combined with the legless, floor-hugging profile, gives the chair a deliberately unhurried quality, the kind of object that makes a room feel slightly slower and more settled than it did before.
The scalability is part of the appeal. Two units make a small sofa, three make a longer one, and the concept seems to extend indefinitely. When units in different tones are combined side by side, the color contrast adds a visual layer that a single chair doesn’t have. There’s also something honest about a design whose best version requires more than one, an admission that’s built directly into the name.
The Galaxy S26 Ultra and iPhone 17 Pro Max represent the latest advancements in smartphone technology from Samsung and Apple, respectively. These flagship devices showcase distinct design philosophies and innovative features, catering to different user preferences. While the iPhone emphasizes ecosystem integration, simplicity, and video quality, the Galaxy focuses on customization, advanced […]
Pinball video games have been around for years — I cut my teeth on Space Cadet 3D Pinball, which was pre-loaded on Windows 95. They range from realistic recreations of pinball tables you’ll find at arcades to games that could never exist in real life like 2019’s Demon’s Tilt or older ones like Metroid Prime Pinball for the Nintendo DS or Pokémon Pinball for the Game Boy Color.
I didn’t expect to find a detailed pinball game for the humble and delightful Playdate, but a pair of developers working under the name Amano pulled it off with Devils on the Moon Pinball, which arrived last week. It’s the developer’s third game for the Playdate, and Mario and JP (who make up Amano) pointed directly to Pokemon Pinball as the inspiration for this game. “I think one of my most-played games is Pokemon Pinball,” JP said. “But the idea to make a pinball game came from Mario… he came to me and say ‘JP, I want to make a custom engine for Playdate and we should make a pinball game.’”
I love playing pinball in real life, but owning a full-size table is extremely expensive and takes up a ton of room. But Devils on the Moon completely scratches the itch. The controls are extremely simple: pressing left on the d-pad flips the left fipper, A flips the right flipper, and pressing down on the d-pad launches the ball. Amano also included tilt controls; pressing right or up on the d-pad or the B button shakes the table in a particular direction so you can try and save the ball. Sadly, the crank doesn’t come into play, but I can’t say I have a good idea for how it would be used.
A screenshot from Devils on the Moon Pinball.
Amano
I was impressed with both the physics and table design of Devils on the Moon after playing for just a few minutes. Despite not having analog control, the way the ball reacted when I hit the flippers felt consistent and smooth, and while I was often surprised at some of the bounces it took, it never felt unfair. When I drained a ball, it was almost always something I could have avoided if I knew the game better or had faster reflexes — just like a good, real-life pinball table.
JP and Mario described the game as using “stylized physics” rather than it being fully realistic. “It may not necessarily be accurate to real life,” JP said. “But since the screen is wider than it is tall unlike actual pinball, we needed the ball to feel a little bit floaty and not fall as fast because then it would just zoom straight down the screen.”
The table design feels both grounded in reality while also taking advantage of its virtual nature. There are three vertical “levels,” each with its own set of flippers. The 2D nature of the game means there aren’t any true ramps like you’ll on most pinball tables, but having three separate sections of the game to get used to makes up for that. And provided you complete various modes in the game, you can reach boss battles where you’re tasked with whacking a giant enemy repeatedly to drain away their health bar. Physical pinball tables often have similar encounters, but they have to be worked into the design of the game — in this case, your ball essentially ports to an entirely different space when you battle a boss.
The full three-stage board layout for Devils on the Moon pinball.
Amano
“It's kind of playing like the old pinball machines where the rules are really simple,” Mario said.". "You just have a few things to do. In our case, it ended up going beyond our original scope, but it’s still quite simple compared to an actual pinball machine in terms of rules.” He said the design intent was to make the game friendlier to people who might try it out without a lot of pinball experience while still putting enough challenge into it.
The audio and visual presentation is top-notch for a Playdate game, too. Perhaps most crucially for a pinball game, there’s no lag or stuttering. The game also has a distinct visual identity, something that’s always important for pinball to draw you into the world of the playfield as much as possible. The game’s page cheekily promises “ at least (1) songs” and it delivers on that with a solid theme for the main game that serves well as background music that doesn’t get old if you’re playing for a while, and the beeps and boops the table makes as you play feel well-suited to the game. It doesn’t “sound” like a real pinball table — but it isn’t one, so that’s okay.
A screenshot of Devils on the Moon Pinball.
Amano
I haven’t played a video pinball game in a long time, but the Playdate feels like an ideal platform for this. I can bring it with me anywhere and play a round or two (provided there’s decent light) or settle in for a longer play session. The game is challenging enough that you’ll need to practice a lot to get the hang of it, but there’s enough variety to the three-tiered table to keep players interested for the long haul. After all, the fun of pinball isn’t necessarily playing a table for the first time — it’s learning it inside out so you can maximize your score. I’m looking forward to getting to that point with Devils on the Moon.
This article originally appeared on Engadget at https://www.engadget.com/gaming/devils-on-the-moon-brings-the-score-chasing-of-pinball-to-the-playdate-130000414.html?src=rss
Valve’s Steam Machine is making headlines again and Deck Ready breaks down the latest updates surrounding this ambitious gaming platform. One notable challenge Valve faces is securing sufficient RAM for production, as larger competitors dominate the supply chain. Despite this, the stabilizing RAM market offers a glimmer of hope, with factors like OpenAI’s reduced purchases […]
