It's always a fun day for the space nerds when a NASA team has new images to share from the James Webb Space Telescope. Today's pair has brains on the brain, with a look at the fittingly named Exposed Cranium Nebula. More officially, this cloud of space dust and debris is known as Nebula PMR 1. The images shared today may capture a moment in the final stages of a star, as well as giving hints as to how the nebula got its brain-like shape.
"The nebula appears to have distinct regions that capture different phases of its evolution — an outer shell of gas that was blown off first and consists mostly of hydrogen, and an inner cloud with more structure that contains a mix of different gases," NASA's blog post reads. The dark line that runs vertically through the nebula, giving it the cranial appearance, could be the result of "an outburst or outflow from the central star, which typically occurs as twin jets burst out in opposite directions." Both Webb's Near-Infrared Camera (NIRCam) and its Mid-Infrared Instrument (MIRI) were used to document the nebula.
This article originally appeared on Engadget at https://www.engadget.com/science/space/new-webb-telescope-photos-show-off-the-exposed-cranium-nebula-235609619.html?src=rss
Most household devices are designed to do their job quietly and disappear into the background. Superheat’s H1 proposes a different role for them. Rather than functioning as a single-purpose utility, it treats the water heater as part of a wider technological and environmental system, one that can turn routine domestic energy use into something more productive.
In one sentence: Superheat H1 is a water heater that replaces heating elements with processors, using their heat to warm water while performing computation at the same time.
Designer: Zhenyang Yan, Andrew Geng, and Superheat design team.
The premise behind the H1 is straightforward. Computation generates heat, and homes constantly need heat. These two realities usually exist separately. Data centers spend large amounts of energy cooling machines whose heat is discarded, while households use energy to produce heat from scratch. The H1 connects these cycles by capturing processor heat and redirecting it into water heating. A single input of electricity is used twice, once for computation and once for domestic use. What is typically treated as excess becomes functional.
Seen from a design perspective, this reframes what a household appliance can be. A water heater is usually considered a fixed expense, yet here it operates more like an active system that can offset part of its own energy cost. Testing suggests reductions of up to 80 percent in hot water energy consumption, which positions the object somewhere between a utility device and an economic mechanism.
The physical design reinforces that shift. The unit is enclosed in a modular aluminum housing that reads more like a deliberate object than a hidden appliance. The modular structure allows internal hardware to be updated as processors evolve, extending the lifespan of the product and reducing replacement waste. The visual restraint and upgradability suggest a design approach focused on duration rather than novelty.
At the same time, interaction remains familiar. Installation mirrors that of a standard heater, and daily use requires no change in behavior. The complexity stays internal to the system, which is arguably what makes the concept compelling. It embeds infrastructure-level functionality into everyday life without asking users to engage with technical systems directly.
Its relevance is closely tied to the present moment. Cryptocurrency mining and high-performance computation have expanded rapidly over the past decade, bringing with them real questions about energy demand and environmental impact. Digital infrastructure often grows faster than the systems designed to support it responsibly. Projects like the H1 sit within that tension. They suggest that emerging technologies do not only require new software or policies, but also new kinds of physical design responses that address consequences as they appear.
Superheat’s broader research points toward a distributed model in which multiple household devices could function as small computational nodes. If scaled, everyday appliances such as dryers or refrigerators could collectively form a decentralized network powered by the energy homes already use. Whether or not that vision becomes widespread, it reframes domestic space as something with infrastructural potential.
After a year of testing and development, the H1 is nearing certification, holds two patents, and has secured partnerships with established manufacturers. Recognition at CES 2026 and growing industry attention indicate that the idea resonates beyond prototype speculation.
What makes the H1 worth paying attention to is not simply its novelty, but the question it raises. If appliances can participate in larger systems rather than operate in isolation, the boundary between product design and infrastructure design begins to blur. In that sense, the project is less about a single device and more about a shift in how designed objects might function within the networks that shape contemporary life.
In 1977, Steve Jobs walked through the kitchen appliance section of a Macy’s department store and came away with a vision for what a personal computer should look like. The result, shaped by industrial designer Jerry Manock and powered by Wozniak’s engineering genius, was the Apple II: a smooth, warm-beige enclosure that suggested domesticity rather than machinery. It belonged on a desk the way a telephone did. That calculated approachability helped sell millions of units across sixteen years of production.
LEGO Ideas builder BrickMechanic57 has translated that design philosophy into 1,772 pieces, and the attention to detail rewards anyone familiar with the original. The signature Pantone beige carries across the computer body, monitor, and dual Disk II drives. The rainbow Apple II badge sits front and center above the keyboard. Pull out the monitor screen and you get two display states: the authentic green-on-black DOS boot screen or a clean, powered-off black panel.
Designer: BrickMechanic57
Wozniak designed the Disk II floppy controller over the 1977 Christmas holidays and reduced the chip count from the industry standard of dozens down to six. Competing controllers from the same era used 50-plus chips and cost significantly more. Apple sold the Disk II for $495 in 1978, and the engineering inside that price point was borderline absurd. BrickMechanic57 stacks two of them beside the main unit, exactly as they appeared on real desks, and a brick-built floppy disk element actually inserts into the lower drive.
The real Apple II keyboard had no cursor keys in its original 1977 configuration, a REPT key for repeating characters, and RESET sitting exposed and dangerous in the top-right corner like a trap for clumsy typists. The close-up render of this build shows every one of those details reproduced faithfully, including the staggered layout, the CTRL and ESC placement, and the POWER button isolated at the lower left. The rainbow Apple II badge above it is sharp enough to make a vintage collector emotional.
The swappable monitor screen states are what separate a good LEGO set from a great one. The LEGO NES set had the working cartridge slot. The LEGO Atari 2600 had the joystick. This build has a DOS boot screen reading “APPLE II / DOS VERSION 3.3 SYSTEM MASTER / JANUARY 1, 1983” in green phosphor text, and that alone justifies the piece count. The monitor face pulls out cleanly, the off-state panel drops in, and suddenly you have two different display moments from the same machine’s life.
LEGO Ideas is the platform where fan-designed builds compete to become official retail sets. Any project that hits 10,000 supporter votes within its window gets reviewed by LEGO’s own designers, and the strongest candidates go into production. Previous successes include the NES, the Polaroid OneStep SX-70, and the Atari 2600. BrickMechanic57’s Apple II has 587 days left on the clock. Voting is free on the LEGO Ideas website, and if this one makes it to shelves, it will be because enough people who care about this history showed up.
It seems like any and every industry can have its own awards show these days. And why not? Most of us appreciate a chance to bust out the sequins and satin from time to time. If you can celebrate excellent work or make some extra biz dev bucks at the same time, all the better. Snap is the latest social media company to launch its own take on the glitz and glam. The Snappy Awards Show will be held at the company's headquarters on March 31. Comedian and content creator Matt Friend will host the event.
Snapchat has been adding more tools for influencers to build audiences, most recently launching individual creator subscriptions. An awards show seems to be part of that same agenda, spotlighting popular personalities from many different fields. There will be Snappys handed out for categories such as Spotlight MVP, Best Storyteller and Breakout Creator of the Year, plus awards for collaboration, cultural impact and success in single subjects.
Snapchat isn't the first social media platform to honor the personalities using it. TikTok hosted its inaugural awards show in the US last year.
This article originally appeared on Engadget at https://www.engadget.com/social-media/snap-is-hosting-its-own-creator-awards-show-221859681.html?src=rss
Full Circle, the developer behind the new Skate game, has announced that it is restructuring and laying off staff. It's not yet clear how many roles will be impacted by the changes, but the restructuring is happening less than six months after skate. launched in early access on September 15, 2025.
"We’re reshaping Full Circle to better support skate.’s long-term future," Full Circle says. "These shifts mean making changes to our team structure, and some roles will be impacted. The teammates affected are talented colleagues and friends who helped build the foundation of skate. Their creativity and dedication are deeply ingrained in what players experience today. This decision is not a reflection of their impact and we’re committed to supporting them through this transition."
Engadget has contacted Full Circle's owner EA for more information about the layoffs. We'll update this article if we hear back.
EA originally formed Full Circle in 2021 with a staff of development talent from the original Skate team. Skate was often positioned as a more realistic competitor to the Tony Hawk's Pro Skater series, but the new studio has ultimately taken the franchise in a slightly different direction than fans may have expected. Previous Skate games were paid experiences with single-player and multiplayer modes, while skate. is a free-to-play live-service game supported with microtransactions.
Recent history, both the failure of Concord and the ongoing struggles of Highguard, serves as a testament to how hard it is to launch a live service game in the 2020s. Full Circle's announcement notes the "tens of millions" of players that have tried the new game, but it's possible a struggle to keep players interested and spending on microtransactions could be why it's restructuring.
This article originally appeared on Engadget at https://www.engadget.com/gaming/skates-developer-is-laying-off-staff-before-the-game-leaves-early-access-220916797.html?src=rss
The best thing that can happen to a design team is that they stop trying to go viral. Early Nothing had an almost anxious energy to it, products that felt engineered for the screenshot, for the unboxing video, for the moment of surprise. That produced some genuinely striking work, and some choices that aged less gracefully. The Phone (4a) suggests the team has moved past that entirely.
The Phone (4a) is the clearest expression of that shift yet. The pink colorway, the refined glyph interface, the periscope camera quietly migrating down to the base model, none of it screams for attention. It rewards it. This is a phone designed for people who will notice things gradually, over weeks of use, rather than in the first thirty seconds of an unboxing video.
Designer: Nothing
The pink is the first thing people will talk about, and most of them will get it slightly wrong. The phone reads pink, but the back panel is technically white. The color comes from tint layered inside the transparency, sitting between the glass and the resin underneath, which means the light has to travel through it before it bounces back to your eye. That gives it a depth and a luminosity that solid paint physically cannot produce. Nothing’s designers described it as starting with the resin being nearly identical to white, then adding a small amount of tint, then letting the tinted glass layer do the heavy lifting. The result shifts depending on the light you’re standing in, giving you a phone that changes ever so slightly in different lighting scenarios. It’s clever, considering Nothing’s done this in the past by playing with depth, relying on textures and components casting unique shadows based on the light source. Now, the company’s adding color to that formula.
Apple has been doing a version of this for years. The iMac G3 in the late nineties used translucent colored plastic to create that same sense of depth, and modern iPhones apply color to the inside surface of the rear glass rather than painting the outside. It’s a technique with a real legacy, and Nothing’s designers actually had a pink iMac on their mood board. That’s worth knowing, because it reframes the colorway from trend-chasing to something with genuine design lineage. The difference is that Nothing puts the engineering on display underneath it, so the tinted glass is also a window into the hardware, which layers the effect further.
The glyph interface on the (4a) is a 1×6 LED strip, and for the first time on an A series device, it includes the red recording indicator that has been on the numbered phones since the beginning. The team is almost protective about that red square, describing it as deserving its place on every device because being recorded carries real consequence. The animations have been rebuilt from scratch rather than ported from Phone (3), which matters because the linear format demands different thinking. The timer, for instance, uses a single falling column of light instead of the hourglass matrix on Phone (3). Same idea, different grammar. Glyph Progress now runs on Android 16’s live updates API, which means broader app compatibility across the board.
The camera doesn’t get talked about much, but it’s clearly an important part of any phone’s design and spec sheet. For starters, its design relies on a format set by its predecessor, the (3a). No fancy changes, no weird alignment like the (3a) Pro, just homogeneity… with a few upgrades. The periscope module in the (4a) uses a tetraprism design, bouncing light through multiple internal reflections to achieve optical zoom in a package compact enough to fit the base model’s profile. The (3a) Pro had a periscope too, but this one is significantly smaller. Nothing has been careful to represent the internal hardware authentically through the cover panel design, so what you see through the back is a stylized but honest reference to what’s actually underneath, including the PCB boundary, the FPC connectors, and the wireless charging coil.
Nothing announced there will be no flagship this year, and that decision reframes everything about the (4a). The A series carries the full weight of the brand’s hardware story in 2025, which means this phone needed to be genuinely good rather than good for the price. The same core design team has been on the A series since the 2A, and that continuity is visible in the way the (4a) sits between its predecessors, borrowing proportions from both without feeling like a compromise. They’ve stopped performing and started building, and the (4a) is the clearest evidence yet that those are very different things.
Ubisoft's shakeups continue unabated. The creative director of the next Assassin's Creed game, codenamed Hexe, has left the company. The departure of Clint Hocking, a 20-year veteran of the company over two stints, was reportedly announced in a staff meeting this week.
Hocking's resume at Ubisoft included serving as creative director on Splinter Cell: Chaos Theory, Far Cry 2 and Watch Dogs: Legion. The details of why he's leaving the company haven't been reported.
Ubisoft told VGC, which first reported on Hocking's exit, that development on Hexe will continue. Jean Guedson, one of three new leaders of the Assassin's Creed franchise, will take over as the upcoming title's new creative director. Guedson had the same role for Assassin's Creed Origins and Black Flag, two of the franchise's most well-received entries.
To say sailing hasn't been smooth of late at Ubisoft would be an understatement. Last year, the company reorganized its corporate structure under a system of "creative houses." The first, Vantage Studios, is partly owned by Tencent and now oversees Assassin's Creed. Then in October, franchise head Marc-Alexis Côté left the company. He later claimed he was "asked to step aside" and is suing his former employer.
But have no fear; some aspects of the company are doing quite well. Take, for example, nepotism. The future is looking bright indeed for a rising company star who is now co-CEO of Vantage Studios. That title belongs to Charlie Guillemot, the son of Ubisoft CEO Yves Guillemot.
This article originally appeared on Engadget at https://www.engadget.com/gaming/the-next-assassins-creed-game-loses-its-creative-director-210119005.html?src=rss
Canadian officials summoned leaders from OpenAI to Ottawa this week to address safety concerns about ChatGPT. The crux of the government concerns was that OpenAI did not notify authorities when it banned the account of a user who allegedly committed a mass shooting in British Columbia earlier this month.
"The message that we delivered, in no uncertain terms, was that we have an expectation that there are going to be changes implemented, and if they're not forthcoming very quickly, the government is going to be making changes," Justice Minister Sean Fraser said of the company and its AI chatbot. It's unclear what those government-led changes or rules might be. There have been two previous, unsuccessful attempts to pass an online harms act in Canada.
A recent report by The Wall Street Journal claimed that in 2025, some OpenAI employees flagged the account of the alleged shooter, Jesse Van Rootselaar, as containing potential warnings of committing real-world violence and called for leadership to notify law enforcement. Although Van Rootselaar's account was banned for policy violations, a company rep said that the account activity did not meet OpenAI's criteria for engaging the local police.
“Those reports were deeply disturbing, reports saying that OpenAI did not contact law enforcement in a timely manner," said Canadian Artificial Intelligence Minister Evan Solomon ahead of the discussion with company leaders. "We will have a sit-down meeting to have an explanation of their safety protocols and when they escalate and their thresholds of escalation to police, so we have a better understanding of what’s happening and what they do."
OpenAI has been implicated in mulitple wrongful death suits. The company's ChatGPT was accused of encouraging "paranoid beliefs" before a man killed his mother and himself in a December 2025 lawsuit. It is also at the center of one of several wrongful death lawsuits against the makers of AI chatbots for helping teenagers plan and commit suicides.
This article originally appeared on Engadget at https://www.engadget.com/ai/canadian-government-demands-safety-changes-from-openai-204924604.html?src=rss
Microsoft has announced that its rolling out support for streaming games at 1440p on Xbox consoles. Game streaming is a key benefit of paying for a Game Pass subscription, and as of 2025, now also includes games players own that aren't part of the larger Game Pass library.
The higher bitrate streaming option will let subscribers with an Xbox Series X or S, Xbox One X or Xbox One play their games at a higher resolution, provided the game and their display supports it. Microsoft previously only offered 1440p streams on select Fire TVs, LG TVs, Samsung TVs, web browsers and the Xbox PC app. At least for now, 1440p is only available to Game Pass Ultimate subscribers.
Beyond the new streaming option, Microsoft is also making improvements to the Xbox PC app and the Xbox experience on ROG Xbox Ally handhelds. On PC, the Xbox PC app now includes "navigation sounds" that play when you use the app's interface with a controller. These new sounds are supposed to make controller input feel more responsive and intuitive. On the ASUS ROG Xbox Ally and Xbox Ally X, meanwhile, Microsoft is making it even easier to format removable storage like microSD cards, and updating drivers to improve compatibility on select games.
The last week has been particularly tumultuous for Microsoft's gaming division. Former Microsoft Gaming CEO Phil Spencer announced his retirement on Friday, alongside the appointment of Asha Sharma, the President of Microsoft's CoreAI division, as his replacement. Opinions differ as to whether Sharma's new position will be good or bad for Xbox, but more changes are likely on the way.
This article originally appeared on Engadget at https://www.engadget.com/gaming/xbox/xbox-consoles-now-support-1440p-streaming-204115304.html?src=rss
The 2026 Formula 1 season with sweeping technical changes is just a week away, and motorsport fans are counting down to lights out in Melbourne. TAG Heuer marks the moment with the Connected Calibre E5 45MM x Formula 1 Edition, a smartwatch designed to translate the sport’s precision and telemetry-driven intensity into a wearable format. As the official timekeeper of Formula 1, the brand’s latest release feels less like a themed accessory and more like a digital extension of race weekend.
Priced at $3,850 and available from March 3 through the brand’s online channels, the watch builds on the existing Connected Calibre E5 platform while introducing exclusive Formula 1-focused software and design elements. Housed in a 45mm grade 2 titanium case with a black DLC finish, it features a fixed ceramic bezel engraved with a tachymeter scale—a direct reference to classic racing chronographs. The screw-down caseback carries special Formula 1 engraving, while the textured rubber strap reinforces its sporting intent. Water resistance is rated to 165 feet, making it suitable for daily wear beyond the paddock.
The 1.39-inch OLED touchscreen delivers a sharp 454 x 454 resolution, ensuring clarity for both everyday functions and race-specific graphics. Powered by the Snapdragon Wear 4100+ platform and running on Wear OS, the watch supports GPS, heart-rate monitoring, sleep tracking, and a wide range of fitness modes. A 430mAh battery provides up to 24 hours of typical use, including around one hour of sports tracking, and fast charging allows a full recharge in approximately 90 minutes, practical for users who rely on it throughout the day.
The Formula 1 integration is where the watch distinguishes itself. Owners receive real-time updates across practice sessions, qualifying, sprint events, and race day. Notifications include session start alerts, grid formations, and race results, complemented by subtle audio cues inspired by trackside sounds. The experience is designed for professionals who cannot follow every lap live but still want immediate access to key developments.
A standout feature is the dynamic Race Track watch face, which adapts to the championship calendar. As each Grand Prix approaches, the display updates with a stylized outline of the upcoming circuit, along with the corresponding national flag. Whether the race is at Silverstone Circuit, Circuit de Monaco, or the Red Bull Ring, the dial evolves to reflect the season’s progression across 24 venues. The companion smartphone app expands on this by offering detailed schedules, team standings, and calendar information, presenting data in a clear, structured format rather than overwhelming the interface.
Importantly, the watch does not sacrifice everyday usability for thematic design. Standard smartwatch features like notifications, contactless payments, music controls, and customizable watch faces remain fully accessible. The motorsport elements feel integrated rather than decorative, aligning with Formula 1’s identity as a technologically advanced championship.
