Author: rb809rb

  • Best Laptop Deal of the Day: Bring Home This Budget Lenovo for 30% Off

    Best Laptop Deal of the Day: Bring Home This Budget Lenovo for 30% Off

    “Budget” doesn’t always mean bad when it comes to laptop shopping. With the right configuration, you can easily keep prices down while keeping product quality up—and land yourself a solid daily driver that lets you complete all your schoolwork, shop, or even just enjoy a bit of streaming without taking a sledgehammer to the bank. Sound like a plan? 

    If you found yourself nodding, allow me to introduce you to the budget-friendly Lenovo IdeaPad Slim 3i. We love Lenovo laptops here at PCMag, and we’re making heart-eyes at this particular model right now, especially since it’s almost half off at Best Buy. It’s an ultra-budget ultraportable that you can take home for less than $400!

    Lenovo IdeaPad Slim 3i

    Intel Core i3-N305, 128GB UFS storage, 8GB RAM


    $349.00
    at Best Buy

    $499.99
    Save $150.99


    Get Deal

    The IdeaPad Slim 3i starts off hot with a huge 15.6-inch Full HD display. A big screen makes virtually all to-dos easier, especially since it opens up the floor for multiple window-viewing. It can reach up to 250 nits of brightness, which isn’t spectacular, but it’s perfectly fine if you aren’t tapping away in direct sunlight. Plus, the bezels on each side are narrow and don’t distract from whatever’s going on on-screen!

    Now, what’s powering this likable laptop? This particular configuration uses a capable yet affordable Intel Core i3 processor, which is built for basic, everyday tasks, easy browsing, and light streaming at the end of the day. So, if you’re a student or casual user looking for a laptop that can help check off your easy (or just normal) tasks, this laptop will get the job done—especially with its 8GB of memory. 

    Our review highlighted its everyday usability, lightweight design, and overall good value, though this configuration’s measly 128GB of storage is a bit of a letdown. However, you can put the $150 you’re saving with this deal toward an external SSD to make up for it. 

    Recommended by Our Editors

    But if you’re looking for something different, check out our experts’ list of the best affordable laptops for 2026!

    More Affordable Laptop Deals

    *Deals are selected by our commerce team

    About Our Expert

  • Patrick Renna on ‘The Sandlot’ Fame and “Once in a Lifetime” Trip to Field of Dreams Game in Iowa

    Patrick Renna on ‘The Sandlot’ Fame and “Once in a Lifetime” Trip to Field of Dreams Game in Iowa

    Patrick Renna touched down in Iowa last week to attend the MLB’s Field of Dreams game in Dyersville, Iowa featuring the Philadelphia Phillies and the Minnesota Twins. The interleague matchup, which streamed live on Netflix, took place inside a newly built stadium just a ball’s throw from the original movie site used for the 1989 sports classic starring Kevin Costner, Ray Liotta and James Earl Jones.

    “Theo Von, baseball players, great food and there’s a baseball game to see tonight at the Field of Dreams — it’s spectacular. It’s once in a lifetime,” Renna told The Hollywood Reporter of the scene during a brief interview against the backdrop of the house used for filming. As Renna recapped his experience, a line of fans formed over his shoulder as people waited for a chance to take a photo with the actor best known for starring in another beloved baseball classic — The Sandlot.

    In a chat with THR, Renna opens up on the nostalgic moment, being starstruck by the MLB commissioner and his recent reunion with his Sandlot pals on the series Dugout Dads.

    How did it happen that you were able to be here for the game?

    The [Sandlot] guys came out a couple years ago but I couldn’t make it for some reason, and I had such major [fear of missing out]. The fact that this [site] is still standing here is so epic, and they built a whole stadium. It’s great.

    You’re wearing John Deere merch. Did they bring you out?

    Yeah, they brought me out. I have a partnership with them that I’m doing here, and we shot a little fun thing in the cornfields. They brought me out for the game and I head home tomorrow.

    Anything baseball must always kick up a lot of interest around you and the film. What is it like to be so closely associated to this sport?

    It’s a great sport to be attached to — it’s America’s pastime so it’s really special. The sport itself is almost nostalgic when you think about it; the experience of families watching the game together in the stands with all the food. It’s cool and it’s humbling. It doesn’t get lost on us how lucky we are to have been part of something like [The Sandlot]. We have now three generations of people coming up to us saying, “You’ve been in our living rooms for 30 years.” To be able to provide that is special.

    What’s the other most common thing people say when they come up to you?

    “You’re killing me, Smalls.”

    It’s nice to see you embracing it, taking all the photos and engaging with the fans. Some actors lean into it, while others might say, “I’ve done 30 years of other work since then.” But you really enjoy it?

    Yeah. As an actor, you kind of always worry about the things that you’ve done that are negative and you think to yourself, “Oh god, I hope nobody sees it.” But the great thing about doing something negative is that nobody sees it. So, yes, I’ve been working for 30 years but I haven’t topped Sandlot and that’s OK. It still gives me something to shoot for and hopefully I do. There are major movie stars that don’t have a movie like Sandlot. There’s something there for people, and all the credit goes to the director, [David Mickey Evans], who write, directed and narrated it. It was lightning in a bottle for a movie to mean something and become so important to families. It’s mind-boggling to even be in it it because it’s not really about me or the guys. It’s bigger than all of us.

    How hard is it to be an actor today?

    I do more producing and directing now. I have Dugout Dads coming out in August, which I brought all the Sandlot guys back for. That was fun. I’m an actor in that. But I don’t go out often [for acting jobs]. If something comes to me because I’ve been doing this so long, that’s exciting to me and I’ll do it. So acting isn’t that hard for me today because I just don’t do it often. I’m on the other side mostly now.

    Can you describe the atmosphere here? You’re getting a lot of attention and I just saw you hanging out with Theo Von.

    Super nice guy. Also, the commissioner of baseball is here. I was so starstruck and wanted to meet him. Theo Von, baseball players, great food and there’s a baseball game to see tonight at the Field of Dreams — it’s spectacular. It’s once in a lifetime.

    Who are you rooting for between the Philadelphia Phillies and Minnesota Twins?

    I got no skin in the game. I’m just looking for a good ball game that is hopefully high-scoring and down to the ninth inning. Maybe the Phillies? Maybe the Twins? I don’t know really. It’s going to be a good game either way.

    Interview edited for length and clarity.

  • Paramount Demands That States Post $1.88 Billion Bond Amid Warner Bros. Antitrust Suit

    Paramount Demands That States Post $1.88 Billion Bond Amid Warner Bros. Antitrust Suit

    Paramount Skydance is demanding that the states suing to block its $111 billion deal for Warner Bros. Discovery post a nearly $1.9 billion bond ($1,884,726,092 to be precise about it), pending the outcome of the litigation.

    In a statement Monday, the company, led by CEO David Ellison, says that the bond demand is based on settled federal law.

    “Both the Clayton Act, the federal antitrust law upon which these suits are based, and other federal law expressly provide that plaintiffs are required to post a bond covering the potential harm from halting a transaction to litigate, so that if they lose, the injured party has a source of recovery for the damage caused,” the company said in a statement. “Here, every month of delay carries substantial and quantifiable financial consequences.”

    Paramount counts Makan Delrahim, was previously the chief antitrust enforcer in the U.S. during the first Trump Administration, as its head of legal affairs.

    “Paramount is seeking a bond based on the straightforward calculation of the maximum potential ticking consideration and financing costs from this litigation,” the company states. “But these are not the only costs of delay. By virtue of what will be at least an eight-month delay in closing, there will be no integration and no ramped-up investment in content, production, and creative talent by the combined company. Of course, in addition, employees of both Paramount and WBD are also harmed by the uncertainties caused by the delay.”

    Paramount has been playing a hardball public pressure campaign since the lawsuit was filed, with threats to leave the state of California (realistic or not), as well as accusations that partisan politics are at play. Hollywood is divided on whether the states and company should try and settle or follow through with the trial, further complicating the effort.

    But the bond is a tangible ask, one that would put taxpayers on the hook in a high-profile case.

  • Taylor Swift Praises Phoebe Bridgers’ New Album ‘Lost Weekend,’ Calls It an ‘Absolute Triumph in Every Way’

    Taylor Swift Praises Phoebe Bridgers’ New Album ‘Lost Weekend,’ Calls It an ‘Absolute Triumph in Every Way’

    Taylor Swift has spoken out about her love of Phoebe Bridgers‘ new album “Lost Weekend,” praising the singer-songwriter for her “absolute triumph” of a record.

    Swift, who previously featured Bridgers on her 2021 song “Nothing New,” took to Instagram Stories to congratulate her on her latest project. “It’s her birthday but she gave us a gift,” wrote Swift. “Haven’t been able to stop listening. This album is an absolute triumph in every way.”

    She continued by praising the songwriting on “Lost Weekend” and wishing her a happy birthday. “To write about grief with such vulnerability and detail, and to trust the listener with this much honesty,” she continued. “Happy bday @phoebebridgers I love you!!”

    Swift previously tapped Bridgers for “Nothing New,” a vault track included on “Red (Taylor’s Version).” During an interview with Billboard at the time, Bridgers reflected on the experience and described it as a “dream.” “I just am so excited to have people take it at face value the day that it comes out, because I got teary recording it. I just couldn’t be more excited,” she said. “I think that she is an incredible businessperson and an incredible writer. What she’s been able to build just from writing adeptly from a young age is insane.”

    Bridgers would continue on to serve as an opening act on a handful of Swift’s Eras Tour shows in Nashville, Philadelphia and more in 2023. This past weekend, Bridgers and Swift attended the wedding of recording engineers Laura Sisk and Oli Jacobs in the U.K.

  • Remembering Hayden Panettiere: From ‘Heroes’ to ‘Nashville’ to ‘Scream,’ 12 of Her Standout Roles

    Remembering Hayden Panettiere: From ‘Heroes’ to ‘Nashville’ to ‘Scream,’ 12 of Her Standout Roles

    The actress died Sunday at age 36.

    News of Hayden Panettiere’s death shocked Hollywood — and the rest of the world — on Sunday.

    While the cause of death is unknown, it’s understood that an investigation is under way. The actress was 36 at the time of her death.

    As fans flock to social media to pay tribute to the actress, The Hollywood Reporter has rounded up a list of her most memorable roles, from her early beginnings as a child actor on soap operas to her critically acclaimed performances in Heroes and Nashville.

  • BINI, SB19 and Lea Salonga Lead ‘Forgotten Island’ Soundtrack (EXCLUSIVE)

    The full track listing for Dreamworks Animation’s “Forgotten Island” has been revealed.

    SB19, BINI and Lea Salonga are among the artists leading the soundtrack. As previously revealed, H.E.R. and Katseye’s Sophia Laforteza also feature. The soundtrack will be released on Sept. 18 with the film set to open on Sept. 25.

    The film follows H.E.R. and Liza Soberano as the voices of Jo and Raissa, two best friends who embark on one last adventure together. Their journey takes them into a night filled with shapeshifters, demons and witches, testing their friendship as they struggle to find their way out of a magical portal and return home.

    The music in the film blends influences from the 1980s and ’90s, particularly drawing inspiration from Filipino and Filipino-American musical culture.

    “Forgotten Island” also features a remixed version of INXS’ classic “Never Tear Us Apart,” sung by Katseye’s Sophia Laforteza, for an emotional moment between the two friends.

    The film’s two female leads, H.E.R. and Soberano, are at the helm of the film’s title track “BRB.” Filipino boy band SB19 will cover the classic song “Mga Kababayan” by Francis M. Additionally, Ruby Ibarra and Carl Angelo perform “Salbahe Ako.”

    The film is scored by composer Nathan Matthew David who leaned heavily on analog synths from that era. Speaking about the score, David said, “There are elements of ’80s pop and hip-hop. But when the girls stumble into the mystical portal and end up on the island of Nakali, “the story evolves, and so does the sound.”

    He also introduces music and instruments from indigenous Filipino tribes, utilizing traditional Filipino instruments like chanters, the Las Piñas bamboo pipe organ, and a Filipino choir singing Tagalog phrases.

    In the film, Salonga plays a dreaded Salonga’s mythical creature. For that, he used the talking gong, known as the indigenous gandingan, a traditional instrument of the southern Philippines.

    How did directors Joel Crawford and Januel Mercado get Salonga to play a villain? Crawford revealed that they sent a pitch to see if she was interested. “We heard from her team right away.”

    Salonga said yes, but the directors realized that, as amazing as the part was, they were concerned it wouldn’t be meaty enough for her. Mercado said, “She was already on the same page as us, understanding that the Manananggal didn’t need to speak a lot to be scary.”

    “She elevated the material,” Mercado said. He went on to explain that Salonga found the voice for the character after listening to H.E.R. and Soberano. “She said, ‘I’ll change my voice so that it complements theirs. If they’re a little higher, then I’ll make the Manananggal deeper and speak from the gut.’” Salonga’s vocals are used throughout David’s score. The album can be preordered here. Check out the album art below.

    Full tracklisting below.

    *All tracks by Nathan Matthew David unless otherwise noted

    1. BRB – H.E.R. & Liza Soberano
    2. Pasakalye
    3. Tayo Na
    4. A Parallel World – BINI
    5. Lola
    6. Tadhana
    7. Never Tear Us Apart (Performed by Sophia of KATSEYE) – Sophia Laforteza
    8. Nakalimutan
    9. Susmaryosep! Hay Naku! Maanghang!
    10. Salbahe Ako – Carl Angelo & Ruby Ibarra
    11. Ninakaw Sa Akin – Nathan Matthew David feat. Lea Salonga
    12. Batiba
    13. Sarimanok
    14. Mga Kababayan – SB19
    15. Bungi
    16. King Truffle Wuffle
    17. Prince Mermahn – Nathan Matthew David feat. Nico Santos
    18. Jerk in the Box – H.E.R. & Liza Soberano
    19. Double Up – Guapdad 4000 feat. P-Lo
    20. Kapre
    21. If We Remember
    22. Magnanakaw – Nathan Matthew David feat. Lea Salonga
    23. Hulihin
    24. It Was You
    25. Balik – Nathan Matthew David feat. Lea Salonga
    26. All of Them
    27. One Last Deal
    28. Forgotten Friendship
    29. I’m So Sorry, Apo
    30. Without You
    31. Memories Are Magic
    32. Bahagi Mo – Nathan Matthew David feat. Lea Salonga
    33. Paalam, Nakali
    34. Jo and Raissa Suite
    35. Ang Mananaggal Suite – Nathan Matthew David feat. Lea Salonga
    36. Batiba Suite
    37. A Parallel World (Amping Mix) – BINI feat. Lea Salonga
  • Solana’s Pump Token Leads Crypto Market Gainers as Chart Paints Golden Cross

    Solana’s Pump Token Leads Crypto Market Gainers as Chart Paints Golden Cross

    In brief

    • Solana’s PUMP is today’s the top performer in the top 100 coins by market cap, up 8.26%
    • The technical signals on the charts are starting to paint a more optimistic picture for PUMP holders.
    • Protocol revenue on the Pump.fun app hit a new weekly high of $10.03 million on August 11.

    The crypto market is up 1.1% on a Monday that opened with Fear & Greed Index score at 39, meaning markets may still be fearful, but they’re not in panic mode anymore. Meanwhile, the Altcoin Season Index is at 44 out of 100, which typically means traders go to Bitcoin as a hedge against volatility and overly bearish movements. Bitcoin dominance remains high enough that most altcoins are treading water.

    The native token of the Solana meme coin factory, Pump.fun, is not treading water. Pump’s token, which trades as PUMP, is the best-performing coin in the top 100 on the day, posting almost 9% of gains in today’s trading session. And the technical signals are finally backing up what the revenue numbers suggested weeks ago.

    PUMP bottomed at $0.001491 in July and has since nearly doubled, touching $0.003000 intraday today before settling at $0.002933. The monthly gain sits at roughly 90%, per CoinMarketCap

    The 50-day Exponential Moving Average, or EMA—which tracks short-term price momentum by weighting recent closes more heavily, is crossing above the slower and longer-term 200-day EMA, which represents the long-term trend baseline. That crossover, called a golden cross, signals a structural shift from a bearish trend to a bullish one.

    It’s not a guarantee of continuation, but it is the first time since PUMP launched in mid-2025 that short-term momentum has overtaken the long-term average from below. After months in which the 200-day served as a ceiling, it’s now beginning to act as a floor.

    The Average Directional Index, or ADX, measures trend strength independent of direction on a scale from 0 to 100. Anything above 25 is considered a trending market; anything above 40 is a strong one. PUMP’s ADX reads 45.3, with the positive directional indicator above the negative—meaning bulls are in control of a strengthening move. The Relative Strength Index, or RSI, sits at 51.4, above the 50 midline that separates bullish from bearish momentum territory, but far enough from 70 to leave room for continuation without an overbought red flag.

    What’s driving the move

    The chart isn’t operating in a vacuum. The protocol generated $11.52 million in seven-day revenue, per DefiLlama, of which $5.37 million flowed directly to PUMP token holders through the buyback-and-burn program—the mechanism that converts fee income into direct buy pressure on the token.

    This means the float has seasoned, early distribution has largely cleared, and a consistent buyback gives the chart a fundamental bid that chart patterns alone don’t.

    Also, Pump.fun’s new social trading features introduced to compete against trading app Fomo’s offerings to top traders appears to have restored confidence in the protocol’s positioning.

    The derivatives market is also aligned. Open interest in PUMP perpetuals stands at $238.42 million, per Coinglass, up from roughly $189 million two weeks ago, when the token was still testing $0.0025.

    The simultaneous rise in price and open interest suggests fresh capital is entering rather than short positions closing. Funding rates have flipped positive during the recovery, meaning leveraged longs are now paying shorts to hold their positions—a signal that the market is building conviction, though one that makes the setup more vulnerable to a sharp flush if price reverses.

    Disclaimer

    The views and opinions expressed by the author are for informational purposes only and do not constitute financial, investment, or other advice.

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  • Paramount Requests States and WGA Be Required to Post $1.9 Billion Bond to Cover Financial Losses While Warner Bros. Merger Is Stuck on Hold Pending Trial

    Paramount Requests States and WGA Be Required to Post $1.9 Billion Bond to Cover Financial Losses While Warner Bros. Merger Is Stuck on Hold Pending Trial

    David Ellison’s Paramount Skydance asked the judge overseeing the antitrust lawsuits filed by 12 states and the WGA to force the plaintiffs to pony up a whopping $1.88 billion bond to cover the company’s losses related to the delay in its merger with Warner Bros. Discovery.

    Paramount filed the motion Monday with Judge Araceli Martinez-Olguin, who has scheduled a trial start date of March 2, 2027. The $1.88 billion would be payable to Paramount in the event Paramount prevails in the antitrust litigation.

    Paramount “hereby moves this Court for an order modifying the Stipulation and Order Not to Close, Dkt.170, to require dissolution of that order unless Plaintiffs post a $1,884,726,092.73 bond by September 30, 2026,” the company said in the motion.

    In a statement to Variety, a representative for Paramount said, “Today, Paramount requested that the court enforce the statutory requirement that the plaintiffs post a bond in connection with their pending litigation, which blocks us from closing our merger with Warner Bros. Discovery.”

    Variety has reached out to the California Department of Justice and the WGA for comment on Paramount’s motion.

    The 12 states, led by California Attorney General Rob Bonta, sued in federal court in July to block Paramount’s $111 billion takeover of Warner Bros. Discovery. The states allege the proposed merger will illegally reduce competition in the markets for theatrical and blockbuster films, as well as basic cable TV. The Writers Guild of America filed its own suit, arguing that the deal also will illegally reduce the number of buyers for writers’ work.

    Paramount agreed to put the merger on hold until the trial concludes, after Martinez-Olguin granted a temporary restraining order to pause the deal for 28 days. In granting the TRO, Martinez-Olguin waived a bond requirement because “Plaintiffs have demonstrated that Plaintiff States bring suit to enforce important public interests.”

    The antitrust lawsuit by the states and WGA are the only barriers remaining to the closing of the Paramount-Warner Bros. merger, which has received regulatory clearances from 68 jurisdictions.

    Paramount execs were confident its deal for Warner Bros. would easily clear regulatory hurdles by the third quarter of 2026. Indeed, as a sweetener in its bid for WBD, Paramount added a provision that requires it to pay Warner Bros. Discovery shareholders a “ticking fee” amounting to roughly $7 million per day, starting Oct. 1, until the merger closes. That would total more than $1.2 billion by the time the trial is scheduled to conclude in March 2027.

    Paramount is seeking a bond “based on the straightforward calculation of the maximum potential ticking consideration and financing costs from this litigation,” the company spokesperson said. “But these are not the only costs of delay. By virtue of what will be at least an eight-month delay in closing, there will be no integration and no ramped-up investment in content, production and creative talent by the combined company. Of course, in addition, employees of both Paramount and WBD are also harmed by the uncertainties caused by the delay.”

    According to Paramount, the Clayton Act — the federal antitrust law on which the lawsuits by the states and WGA are based — and other federal laws “expressly provide that plaintiffs are required to post a bond covering the potential harm from halting a transaction to litigate, so that if they lose, the injured party has a source of recovery for the damage caused.” In the case of the Paramount-WBD merger, “every month of delay carries substantial and quantifiable financial consequences,” the company rep said.

    California’s Bonta has said repeatedly that the states are focused on winning at trial rather than reaching a settlement, and that Paramount’s proposed conditions do not go nearly far enough to address the anticompetitive concerns raised in the lawsuit. Bonta has argued that “behavioral” remedies — such as promises to release a certain number of films — have proven ineffectual in the past, and has said that he is focused on structural changes that Paramount has been unwilling to make.

    Bonta, asked about a potential settlement Monday on MS Now’s “State of Play With Peter Alexander,” said that “we prefer to resolve disputes in the boardroom, not the courtroom, if possible.”

    “And so coming to the table in this case in good faith to sincerely discuss how to resolve this case has always been on the table and remains on the table,” Bonta said. “But Paramount, Warner Bros. breaking the law and expecting us to let them get away with it, that is not on the table and never will be on the table. And that’s essentially what they’re asking for right now.”

    In Paramount’s statement Monday, the company spokesperson said, “We remain confident that plaintiffs’ case is without merit and will defend our pro-competitive transaction in court. We look forward to closing this transaction and delivering its benefits to consumers and entertainment industry workers in California, the United States and around the world.”