Category: Technology

Google has announced a trio of new AI-powered features for its Google TV platform, after showing off smarter Gemini integration at CES back in January.

Google TV can now provide “richer visual help” when you ask it a question. Request the current sports scores, for example, and Gemini will bring up not only a live updating scorecard, but also where you can watch the game. If you’re looking for a recipe, it’ll pair its results with a video tutorial where possible.

If you’d rather learn something new than binge away at your latest Netflix fix, Google TV can also now do visual “deep dives” on topics that interest you. If there’s an economic trend, scientific phenomenon or technological innovation that’s on your mind, Gemini will create a “custom, interactive walkthrough” on the subject in question, allowing you to ask follow-up questions afterwards.

The idea is that the feature lets you turn “passive viewing into meaningful screen time.” It would appear that even your TV is now telling you off for watching too much TV.

When you ask about a topic, you can either click “Dive deeper” to learn more, or navigate to the Gemini tab at the top of your home screen and select the “Learn” option.

The last new addition is Gemini-powered sports briefs, which function in the same way as the news briefs Google introduced last year, but strictly for sports. Designed as an alternative to checking your phone, you can ask your AI-assisted TV for “timely, narrated overviews” of the latest goings-on in any league you might follow. Already, the feature supports the NBA, NCAA basketball, NHL, MLS and NWSL, and it will live in the Gemini tab.

Deep dives and sports briefs are initially limited to those with Gemini-enabled devices in the US, with Google promising wider device support later in the spring. Richer visual help is rolling out today in the US and Canada, and Google has also announced that its various Gemini Google TV features are coming to more countries in 2026, starting with Australia, New Zealand and the UK in the coming months.

Apple TV’s long-running sci-fi show For All Mankind has just been renewed for a sixth and final season, ahead of this week’s season five premiere. This seems more like the natural endpoint of the story instead of a cancellation, according to remarks made by some of the creators.

“Getting to explore the For All Mankind universe over six seasons has been an amazing privilege, and we’re thrilled to have the opportunity to finish the story the way we’ve always hoped,” co-creators and showrunners Matt Wolpert and Ben Nedivi said. “We’re incredibly proud of what this series has become, and grateful to Apple TV and Sony Pictures Television for helping us see it through to its final chapter.”

The plan for the show has always been to bring it up to the modern day and it looks like the creators will get to do just that. Season five takes place in the 2010s, which gives season six plenty of time to catch up to the 2020s.

For the uninitiated, For All Mankind is an alt-history series that started in the 1960s with Russia beating America to the moon. The show absolutely loves time jumps, with each season covering a decade or two.

That initial discrepancy with our reality has ballooned into all kinds of butterfly effect-type stuff. For instance, humanity quickly moved beyond the moon to occupy Mars. Al Gore also got to be president in that timeline.

Despite the numerous time jumps, several of the show’s original cast members are still on board. Joel Kinnaman’s character, astronaut Ed Baldwin, is quite literally in his 80s at this point. The actor must be getting tired of all of those fake wrinkles.

In any event, season five of For All Mankind premieres on March 27. The mainline show is coming to a close, but there’s still a spin-off to look forward to. Star City premieres on May 29. This looks to be a take on the events of the original show from the perspective of Russia.

The live music discovery platform Bandsintown’s partnership with Apple goes way back, but iOS 26.4 brings the deepest integration between the two companies to date. Concert listings from Bandsintown will now appear in Apple Music, allowing you to find out when either a band you already love, or one you’re discovering for the first time, is next playing live.

Artists who use Bandsintown to advertise their tour dates can promote upcoming shows in a number of ways through Apple’s app. A new Concerts tab will live within Search, allowing subscribers to search for shows by their genre, location and date, while participating artists can also connect their Bandsintown dashboard to their Apple Music artist page. By doing this, their tour dates will automatically appear in an “Upcoming Concerts” section within 48 hours of connecting the two services.

Apple Music users can tap listed events to see more details about a show and will be able to buy tickets through direct links to sellers. If you follow artists, you can also set up push notifications for their announced shows.

Bandsintown’s platform is already built into a number of other Apple apps and services, with the likes of Shazam, Apple Maps, Photos and Spotlight Search all able to pull through live event data. The new Apple Music features will be available on devices running iOS 26.4 when it leaves beta.

iOS and iPadOS 26.4 are here, with a surprising number of new features for a point release. Chief among them is a new AI playlist generator, similar to one Spotify launched in 2024.

Playlist Playground is Apple’s branding for the song list generator. It works as you’d expect: Type a prompt, and it spits out tracks that match it. As MacRumors noted, your prompts can relate to mood, feelings, activities and more.

Also new in iOS 26.4, an ambient music widget puts background sounds on your home screen. Like the corresponding Control Center tool, it brings up (Apple-curated) sounds for sleep, chill, productivity or well-being. Yet another music feature is Bandsintown integration: upcoming concert dates in your area will appear in the Apple Music app.

Unicode’s latest emoji characters arrive in the update, too. This includes “Hairy Creature,” also known as Bigfoot. Another fun one is fight cloud. (Think old-timey cartoons beating each other up inside a puff of vapor.) Also onboard are a trombone, a treasure chest, a distorted face, an apple core, an orca, ballet dancers and a landslide.

The update also has fixes for some of iOS 26’s nagging bugs. In Apple’s latest attempt to stem the tide of complaints about Liquid Glass, there’s a new “Reduce Bright Effects” setting. There’s also a fix for a keyboard bug that caused errors when typing rapidly.

We knew Disney+ was prepping a standalone special for The Punisher, but we didn’t know it was coming so soon. The Punisher: One Last Kill premieres on May 12. This is just one week after the season two finale of Daredevil: Born Again, which starts up this week. It’s possible The Punisher will be featured in that, so we could be in for eight straight weeks of skull-shirted shenanigans.

One Last Kill was actually co-written by star Jon Bernthal, who has been playing the vigilante for a decade now. It’s been described as a love letter to the character, but plot details have been kept under wraps. Marvel TV head Brad Winderbaum has called it “a shotgun blast of a story.” Reinaldo Marcus Green is directing, who previously made We Own This City with The Wire’s David Simon.

We do know that Frank Castle survives whatever violent ordeal he goes through in the special. That’s because The Punisher is featured prominently in the trailer for the next Spider-Man film. This will be the first time Bernthal’s take on the character will show up in an actual movie.

He first took on the role in season two of the original Netflix Daredevil show. Bernthal was a fan favorite, which led to two seasons of a spin-off show before Netflix and Marvel ended their whole joint TV experiment.

This isn’t the only Netflix-era hero getting a resurgence on Disney+ and beyond. Charlie Cox returned to the role of Daredevil for Spider-Man: No Way Home and She-Hulk: Attorney at Law before getting his own show. It’s also been reported that Krysten Ritter’s Jessica Jones is coming back this season on Born Again and Mike Colter has been dropping hints that his version of Luke Cage could be gracing televisions in the near future.

The popular co-op heist franchise Payday is coming to VR. Payday: Aces High will release for the Meta Quest platform and SteamVR later this year. It looks like it has everything people love about the series, but with some of that VR-style immersion.

Just like the mainline games, this version tasks players with planning and then pulling off elaborate heists. It offers four-player co-op, with each person filling a particular role within the group. These are your standard heist movie archetypes. There’s the planner, the brawler, the gadget nerd and the silent but deadly assassin.

The developer also promises plenty of gear and weapons, with “an arsenal that keeps growing.” This leads to the usual Payday gameplay loop. Each successful heist lets players buy more weapons and gadgets. Rinse and repeat.

Fast Travel Games is making this one, and the developer has a decent pedigree in the VR space. It helped make Cities: VR and Apex Construct, among many others. The graphics here look decent and we already know the gameplay is solid. Plus, there are clown masks. We’ll find out if Payday: Aces High makes the grade later this year.

This is just the latest major gaming franchise to experiment with virtual reality. There are VR versions of Half-Life, Assassin’s Creed, Horizon and many more.

Epic Games has announced sweeping layoffs of more than 1,000 employees. “The downturn in Fortnite engagement that started in 2025 means we’re spending significantly more than we’re making, and we have to make major cuts to keep the company funded,” CEO Tim Sweeney said in a memo to workers on Tuesday.

Sweeney wrote that, combined with “over $500 million of identified cost savings in contracting, marketing, and closing some open roles,” the layoffs will give Epic more stability. He added that the layoffs are not related to AI.

Back in 2023, Epic laid off 830 employees. At the time, that was 16 percent of its workforce, suggesting around 4,000 employees remained at the company. If those numbers haven’t changed too much in the meantime, that means Epic is culling around a quarter of its headcount this week.

Along with a dip in Fortnite engagement, Sweeney pointed out that Epic isn’t immune from systemic issues the games industry is contending with, such as a slowdown in growth, reduced spending, “tougher cost economics” and a battle with other types of media for consumer’s attention.

However, Epic has some issues of its own to deal with. “Despite Fortnite remaining one of the most successful games in the world, we’ve had challenges delivering consistent Fortnite magic with every season; we’re only in the early stages of returning to mobile and optimizing Fortnite for the world’s billions of smartphones; and in being the industry’s vanguard we have taken a lot of bullets in a battle which is only in the early days of paying off for ourselves and all developers,” Sweeney wrote. (He previously said Epic spent over $100 million in legal fees alone on its App Store battle with Apple.)

The path forward for the company, per its CEO, is to create “awesome Fortnite experiences with fresh seasonal content, gameplay, story and live events,” perhaps in an attempt to recapture some of that “magic” he’s referring to. Speeding up work on developer tools amid the transition to Unreal Engine 6 is important as well, Sweeney indicated.

He said that the workers Epic is laying off will receive at least four months of their base pay, though they’ll get more depending on the length of their tenure at the company. Epic will pay for extended healthcare coverage, including for six months for affected workers in the US. The company — which is not publicly traded — will speed up the vesting of stock options through next January and “extend equity exercise options for up to two years,” Sweeney said.

Epic announced the layoffs days after it increased the price of Fortnite’s V-bucks currency. “The cost of running Fortnite has gone up a lot and we’re raising prices to help pay the bills,” it said.

As part of the changes at the company, Epic is killing off three Fortnite modes. Rocket Racing (which was built by Rocket League developer Psyonix) will shut down in October. Fortnite Ballistic — a 5v5 tactical shooter mode — and Festival Battle Stage, which is a competitive version of the Fortnite Festival rhythm game, will vanish on April 16. “We’ve built a lot of Fortnite modes, and in some cases we failed to build something awesome enough to attract and retain a large player base,” Epic said on X.

The company noted in its Year in Review recap last month that although the hours that players spent in third-party titles on the Epic Games Store increased by four percent in 2025, “overall gameplay hours declined year over year,” hinting at a dip in Fortnite numbers. The company said PC players spent $1.16 billion on the store in 2025, an increase of six percent from the previous year. Of that, $400 million was spent on third-party PC games. However, Epic Games Store vice president and general manager Steve Allison told Polygon in February that, factoring in first-party revenue and the 12 percent cut the company takes from third-party games, “the store is already — even with all this stuff — marginally profitable now.”

Here is the full memo Sweeney shared with Epic’s employees on Tuesday:

Today we’re laying off over 1000 Epic employees. I’m sorry we’re here again. The downturn in Fortnite engagement that started in 2025 means we’re spending significantly more than we’re making, and we have to make major cuts to keep the company funded. This layoff, together with over $500 million of identified cost savings in contracting, marketing, and closing some open roles puts us in a more stable place.

Some of the challenges we’re facing are industry-wide challenges: slower growth, weaker spending, and tougher cost economics; current consoles selling less than last generation’s; and games competing for time against other increasingly-engaging forms of entertainment.

And some of our challenges are unique to Epic. Despite Fortnite remaining one of the most successful games in the world, we’ve had challenges delivering consistent Fortnite magic with every season; we’re only in the early stages of returning to mobile and optimizing Fortnite for the world’s billions of smartphones; and in being the industry’s vanguard we have taken a lot of bullets in a battle which is only in the early days of paying off for ourselves and all developers.

Since it’s a thing now, I should note that the layoffs aren’t related to AI. To the extent it improves productivity, we want to have as many awesome developers developing great content and tech as we can.

What we now need to do is clear: build awesome Fortnite experiences with fresh seasonal content, gameplay, story, and live events; accelerate developer tools with greater stability and capability as we evolve from Unreal Engine 5 and UEFN to Unreal Engine 6. And we’ll be kicking off the next generation of Epic with huge launch plans towards the end of the year.

This isn’t our first time being here. Epic survived upheavals in 1990’s with the move from 2D to 3D with Unreal 1; in the 2000’s building console games with Gears of War; and in 2012 moving to online gaming with Paragon and Fortnite. Each time, we rebuilt our foundations and earned a renewed leadership position.

Market conditions today are the most extreme we’ve seen since those early days, with massive upheaval in the industry accompanied by massive opportunity for the companies that come out as winners on the other side. That’s what we’re aiming to do for our players, and we aim to bring other like-minded developers in the industry along on the journey to build an increasingly open and vibrant future of entertainment together.

At Epic, we pride ourselves in only hiring the industry’s best, so it is very painful to part with so many talented people. The folks impacted by the layoffs will receive a severance package that includes at least four months of base pay, with more based on tenure. We’re also extending Epic-paid healthcare coverage.

For example, in the U.S., they’ll receive paid coverage for 6 months. We’ll also accelerate their stock options vesting through January 2027 and extend equity exercise options for up to two years.

We’ll have a company meeting Thursday to talk about the roadmap in more detail.

-Tim

Samsung has unveiled the budget M70H and M80H Mini LED TVs, promising a bright picture and accurate colors starting at just $400 for the 50-inch and $1,200 for the 85-inch models. The company also revealed a pair of new higher-end TVs with the company’s “Quantum Mini LED” tech, the QN70H and QN80H, that offer “precise backlighting” and 100 percent color volume.

Mini LED TVs have been dropping rapidly in price over the past couple of years while also improving in quality. The M70H and M80H are among the cheapest we’ve seen so far, with, most 50-inch Mini LEDs currently on sale costing $400 or more. Samsung is promising pretty decent specs as well like 10-bit panels that can display a billion colors, Samsung’s HDR+ and a 144Hz refresh rate with FreeSync Premium or 240Hz with DLG at 1080p.

Other key features include Samsung’s One UI Tizen with Smart Home support and Alexa, Google Assistant and Apple TV) compatibility, along with Samsung’s Gaming Hub for cloud gaming and adaptive sound (but not Dolby Atmos support). The company didn’t mention some key specs like brightness, color gamut and the number of local dimming zones, so you can likely assume those aren’t top-of-the-line.

The prices are very good, with the 43-inch M70H at $350, the 65-inch M70 priced at $530 and the 85-inch M70H running $1,200. The M80H starts at $700 for the 55-inch model and runs up to $1,800 for the 85-incher. All models are now on sale, and Samsung said that a 100-inch Class M90H model is arriving later this year this year.

Samsung also revealed a new line of higher-end Neo QLED models powered by its “Quantum Mini LED” technology. With the QN70H and QN80H, Samsung is promising “brilliant brightness” and 100 percent DCI-P3 color volume, thanks to the quantum dot tech and “more precise backlighting.” Samsung said this model would have more local dimming zones than before (though again, it didn’t say how many), which should result in better contrast and less “blooming” caused by light leakage from neighboring pixels.

Features are largely the same as with the M70H and M80H, but the QN models also offer Dolby Atmos and 360 audio along with a slightly highter 288Hz DLG refresh rate at 1080p. The Neo QLED 4K QN70H starts at $600 for the 43-inch model and goes up to $1,200 for the 65-inch version and $2,300 for the 85-inch model. The 55-inch QN80H, meanwhile, costs $1,299, the 75-inch model is $2,000 and the 100-inch TV is $5,500.

Akai just revealed specs and other details about the MPC Sample after teasing the gadget earlier this month. This is a portable sampler and groovebox that looks eerily similar to Teenage Engineering’s EP series. It also resembles some legendary Akai gadgets from decades past, including the MPC3000 and MPC60. In other words, it’s easy on the eyes and sort of looks like a Super Famicom.

It seems pretty capable. The Sample has 16 velocity-sensitive MPC pads with poly aftertouch, which should please finger drummers. It can handle 32 stereo voices of polyphony and there’s a sequencer for making actual beats.

As for sampling, there’s an easily accessible chop mode, in addition to time-stretching and repitching capabilities. Samples can be edited via waveform, thanks to a full-color LCD display. The machine can resample internally with FX, letting creators make some unique soundscapes. The MPC Sample boasts access to four effects engines and 60 effect types.

The gadget ships with over 100 factory drum kits, but users can easily add whatever they want. It comes with just 8GB of internal storage, but there’s a microSD slot for more. It can, of course, connect to MIDI keyboards for playing melodic samples. The Sample also hooks up to DAWs.

The RAM is on the lower side, at just 2GB. However, this is the standard configuration for some more expensive units, like the MPC Live and Live II. It should be able to get the job done, but the MPC XL is the product to pick for those looking for maximum horsepower. That one has a whopping 16GB of RAM. It also costs nearly $3,000.

The rechargeable battery here lasts five hours, which is respectable but not groundbreaking. Teenage Engineering’s EP series boasts better battery life, but requires pricey AAs. Finally, there’s a speaker, but I’ve never had much luck with speakers on this type of thing. Bring some headphones to actually hear what’s going on.

Perhaps the biggest news here is the price. The MPC Sample costs just $400, which seems reasonable given the form factor and features. It’s available right now.

Casio recently unveiled another nifty-looking portable sampler called the SX-C1. It also resembles a Nintendo product, but this time it’s a Game Boy and not the Japanese SNES.

Spotify has started rolling out a feature called SongDNA that can show you the people behind your favorite tracks and give you an insight on how they were created. You can access it by opening the Now Playing view while listening to a specific song and then scrolling down to the SongDNA box.

Tracks that support the new feature will show you all the artists, writers, producers and collaborators behind them. It’s yet another way to make more music on the platform discoverable, since you’ll be able to tap on their icons to see their profiles and the other pieces they worked on. The box will also contain the samples and interpolations that helped form a track’s sound, as well as the covers it inspired. Spotify says it’s giving eligible artist and label teams the power to review and manage the components of the feature, so it’s bound to be supported by more and more tracks as time goes on.

“SongDNA is designed to make a song’s creative lineage more transparent so fans can easily explore the people and influences behind the music they love,” said Jacqueline Ankner, Spotify’s Head of Songwriter & Publisher Partnerships. “By bringing collaborators, samples, and covers together in one place, we’re making it easier for fans to discover new music and see how songs connect and come to life—while giving songwriters, producers, and rightsholders meaningful recognition for the role they play in creating it.”

SongDNA is making its way to paying iOS and Android users around the world, but it’s still in beta and might still go through revisions before it’s more widely available. It will roll out more broadly to Premium users throughout April.