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Watching a show or a movie has quite literally never been easier. The streaming services you already subscribe to have more content than you could possible ever watch. If something you want to see is only on a specific platform, you can subscribe to it. If it’s only available to buy or rent digitally, you can do that too. But with the rise of streaming, the concept of owning and curating a home video collection has fallen away. It seems fewer and fewer of us want a collection of discs in our homes. We’d prefer everything to fit neatly into our smart TVs.

But streaming isn’t perfect—far from it. Maybe you were counting on watching something on a service you already pay for, but discover it’s now gone; maybe that movie isn’t streaming anywhere at all, and there’s no way to watch it online. Owning a physical copy of a show or movie really is the only way to guarantee that you’ll be able to watch it whenever (or wherever) you want.

Plus, building a collection of films perfectly suited to your tastes is just fun—entertainment feels less ephemeral when you can tie it to a physical object rather than an icon in a sea of them on the Netflix home screen. If you want to go back to how things used to be, here’s how to go about starting your own home video collection in 2026:

Buying movies and shows digitally isn’t the same as owning them

Modern streaming devices and TVs aren’t exactly gatekeeping you from purchasing movies or TV shows. If you want to, you can still buy them through your Apple TV, Fire TV, Roku, Google TV, or through the various apps you use. Prime Video will happily sell you Titanic; Apple will let you buy a “box set” of every season of The Office; you can even buy The Dark Knight on YouTube, by way of Google Play Movies & TV.

The thing is, buying digitally isn’t really ownership. It might feel that way: You have to click a “Buy” button, pay a good chunk of change, and you get access to that content at any time from any compatible, connected device. But when you buy a digital show or movie through Apple, Amazon, or Google, what you’re actually paying for isn’t ownership rights, but a license. You’re paying for the privilege of viewing that content for as long as the platform has the rights to it. If Prime Video loses the rights to Titanic, so do you, even if you paid $19 for it.

That’s not to say digital content doesn’t have its place. These stores are particularly great for renting movies when the flick you want to watch isn’t available on streaming. It might also make sense for you to “buy” shows and movies on these platforms, as the license can cost less than the price of a movie ticket, and you can definitely get your money’s worth in viewings this way. I have a number of movies I bought on iTunes a decade ago that I still have access to, and I watch them regularly across all my Apple devices. But back when I bought them, I assumed I owned them. I was wrong, and that’s why I haven’t clicked “buy” on one of those platforms in years.

True ownership requires buying physical media

If you want to truly own your TV shows and movies, and know for sure that you won’t lose access to them, you need to invest in physical media. In 2026, that largely means on a disc. If you’ve fully transitioned to the streaming lifestyle, the idea of bringing DVDs and Blu-rays into your home might sound downright medieval—but without them, your collection is forever at the mercy of the platforms that license said content.

Here’s the real kicker, though: Even when buying your shows and movies physically, you’re still just buying a license to watch that content—that’s why you can’t publicly screen a movie just because you own the DVD; you still have to pay for the rights to show it outside of your home. Technically, the companies that own the content can revoke that license at any time—it’s just way more difficult to cut someone off when they have a physical disc. That gets a bit dicier with modern Blu-rays and Blu-ray players, which connect to the internet, and could theoretically block your access in the future. But as far as I know, there’s no documented case of this happening, whereas marketplaces like Prime Video have lost licenses and revoked users’ content. So generally, if you buy a movie or a TV show on a disc, you own it, for all intents and purposes.

There are many video formats out there, especially if you’re interesting in owning legacy media (from VHS, to Betamax, to LaserDisc). But for now, let’s assume you want to start a collection of DVDs and Blu-rays. They’re the easiest physical media to buy when it comes to shows and movies, and the most versatile when it comes to playback.

Physical media often looks and sounds better than a digital copy

This isn’t an opinion driven by nostalgia: While streaming quality can be excellent, modern discs will always be superior. Sure, your 4K Prime Video stream is going to crush a low-resolution DVD, but even a 1080p Blu-ray has it beat in certain categories. A 4K Blu-ray, meanwhile, is the absolute gold standard.

The main reason comes down to bitrates—the amount of information displayed on your screen at once. In general, the higher the bitrate, the more visual detail a video will have at any given moment. This is different than resolution, which is simply total number of pixels a video contains. (4K has roughly 8.3 million pixels per frame—3,840 pixels by  2,160 pixels—while 1080p has just over two million pixels per frame—1,920 pixels by 1,080 pixels).

When you buy shows and movies digitally, you’re only really sold on the resolution—whether the content is “HD” (1080p) or 4K—and not the bitrate. While that 4K stream has more available pixels to work with than a 1080p disc, if the disc’s bitrate is higher, it can show more details in its two million pixels than the 4K stream can show in its 8.3 million. While discs can run off of the information they contain alone, streaming has to contend with all sorts of variables with your home internet connections—and, thus, it has to compromise on the bitrate.

Take The Dark Knight, for example: I have the 1080p Blu-ray, which has a bitrate of 24 Mbps. I also have a license for the 4K Dolby Vision version from Apple TV. After hacking my Apple TV a bit, I was able to see the streaming data, which showed that while the maximum bitrate was 24.24 Mbps, my average hovered around 15 Mbps. That’s still a good amount of data, but it’s interesting to see that even at 4K resolution and in Dolby Vision HDR audio, my Apple TV stream moves less data than my 1080p Blu-ray. I have a good internet connection, but maybe if I were able to connect my Apple TV directly to the router via ethernet, I could get that 24.24 Mbps bitrate and match that of the Blu-ray. But what if I upgrade to the 4K Blu-ray, since that has a bitrate of 47.16 Mbps and supports HDR?

While a 4K stream may be comparable (or even preferable) to a 1080p Blu-ray, the Blu-ray (4K or not) will always outclass it in the audio department. Streaming audio bitrates are more compressed than discs, even more than the video bitrates. While my Apple TV copy of The Dark Knight could theoretically reach the bitrate of my Blu-ray copy, its audio maxes out at 383.88 kbps. The Blu-ray, however, has support for 16-bit 48kHz Dolby TrueHD 5.1 audio, which has a variable bitrate, but should theoretically reach 4,608 kbps (16 bits times 48 kHz times six audio channels)—as well as Dolby Digital 5.1 at 640 kbps. Simply put, you get a lot more audio data from the disc. The 4K Blu-ray ups that to DTS-HD Master Audio 5.1 at 24-bit 48kHz, which applying the same math gets you 6,912 kbps.

The big caveat here is that all of this is dependent on the TV and sound system you use to experience your movies or shows. If you use your TV’s built-in, backwards-facing speakers, you might not notice the uptick in quality. But if you have at least a soundbar, if not a more elaborate home theater setup, discs are definitely going to sound better. The same goes for picture quality: If you have a high-quality TV panel, you’ll notice sharper scenes, more film grain, and a lack of compression, especially in dark scenes.

Where to buy Blu-rays and DVDs in 2026

The good news is, even in 2026, it’s not hard to find physical shows and movies to buy. You don’t need to find specialty stores or shop secondhand: major retailers like Walmart and Target still sell physical media of all kinds, including Blu-rays and DVDs. You can walk into a Walmart right now and buy Zootopia 2 on Blu-ray, or head to Target and buy Vice on DVD. But for a more curated selection, you’ll definitely want to keep tabs on Amazon, or even Best Buy. Barnes & Noble famously sells The Criterion Collection Blu-ray and DVDs, though you can always buy directly through Criterion.

You might think that because “nobody” buys discs anymore, that these things would be dirt cheap. Au contraire: Physical media can get pricey, especially Blu-ray (and particularly 4K Blu-ray). My recommend is to follow a site that tracks deals on physical media, like Blu-ray.com. You can sort by type (4K Blu-ray, Blu-ray, DVD, etc.) or just browse all types of deals to see if any of your favorites get to a price you find acceptable. But if you’re getting into this type of collecting, and especially if you’re buying new movies and TV shows, be prepared to spend some cash (there’s a reason folks in the r/Criterion Reddit group mark the Barnes & Noble semi-annual 50% off sale on their calendars).

You’ll need something to play your DVDs and Blu-rays

If you’re all-in on streaming, you might not actually have anything to play a DVD or Blu-ray on. If so, you’ll need to remedy that. Believe it or not, there are companies still making Blu-ray players, though the numbers are dwindling. Two companies, Pioneer and Reavon, abandoned the market in 2025, but there are still good options out there, with Sony and Panasonic leading the pack. CNET recommends the Sony UBP-X700M, which you can pick up for under $300 used on Amazon.

On the flip side, if you have a game console, like a PlayStation or Xbox, you already have a Blu-ray player—with some caveats: The Xbox models, as well as the PS5, don’t support Dolby Vision HDR, only HDR10. If you’re looking for Dolby Vision, you’ll need to buy a dedicated player. But if all you want is a machine to reliably play your budding movie collection, your PlayStation or Xbox will work just fine. (Just make sure you buy one with a disc drive.)

PlayStation 5

$549.00
at Amazon

$549.00
at Amazon

You can rip your discs to enjoy the flexibility of digital ownership

If you want the permanence of physical media and the convenience of digital ownership, you can actually take things full circle and create your own private streaming service. You can take any of the physical discs you buy, rip the video files, and upload them to a private server. You can then use a program like Plex or Jellyfin to access those files from anywhere. You can watch them from your own home, of course, but also stream them when traveling. Plus, it serves as a backup method: Should something happen to the disc (or should the movie studio actually somehow revoke your Blu-ray license) you always have a backup copy of your disc.

You may need some extra hardware to get this done, however. If you’re ripping DVDs, you’ll need a DVD player connected to your computer, and a program like Handbrake. If you’re ripping Blu-rays, you’ll similarly need a Blu-ray player that can connect to your computer, and a program like MakeMKV. While ripping DVDs is pretty straightforward, ripping Blu-rays can get a bit tricky, especially if they’re 4K, so you might want to follow a full guide for the best results.

As for the legality of this method, well, most films are encoded onto discs with digital rights management software (DRM), and while making a backup copy is often considered fair use, bypassing DRM in the U.S. is also a violation of the Digital Millennium Copyright Act, which means it’s illegal. You know, technically. And while I won’t encourage you to break the law, if you invite me over to stream a movie from your personal Plex server, I promise not to tell on you.

Famed aviator Amelia Earhart mysteriously disappeared in 1937 during an attempt to become the first female pilot to circumnavigate the globe. Speculative theories abound about what really happened to Earhart, but while tantalizing hints of her fate have popped up from time to time over the last 90 years, none have proved conclusive. The people behind those theories, and the extraordinary woman who still inspires them, are the focus of an eminently readable new book, Lost: Amelia Earhart’s Three Mysterious Deaths and One Extraordinary Life, by Rachel Hartigan.

A former editor of The Washington Post’s Book World, Hartigan worked for National Geographic magazine for 12 years, covering such diverse topics as the genetics of persimmon trees and the history of women’s suffrage. So why a book about Amelia Earhart? Hartigan acknowledged that she asked that question herself “in the darkest moments of writing.”

After all, there are countless biographies for readers of all ages, as well as books touting various theories about Earhart’s disappearance, not to mention occasional news coverage about the latest attempts to locate Earhart’s plane or her remains. (Just last fall, we reported on Laurie Gwen Shapiro’s The Aviator and the Showman, a biography exploring Earhart’s unconventional marriage to George Putnam, a flamboyant publisher with a flair for marketing.) “I just didn’t feel there was a book that tied everything together,” Hartigan told Ars. “You get these news stories of people saying they know where Amelia Earhart is, but you don’t have any context beyond the immediate story, all the things that make it a full picture.”

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Amazon’s Big Spring Sale is still going strong, and smart home upgrades are getting some real price cuts. One among them is the Philips Wi-Fi Smart Lock with Handle, which is down to $149.99 (originally $229.99)—its lowest price so far, according to price trackers. That drop makes it a more approachable way to switch from a traditional lock to something smarter without committing to a full security system. It’s a complete set with handles included, so you’re not mixing and matching parts or dealing with awkward installs that don’t look right on your door.

Philips Wi-Fi Smart Lock

Keyless entry keypad door lock with handle

$149.99
at Amazon

$229.99
Save $80.00

$149.99
at Amazon

$229.99
Save $80.00

This lock focuses on flexibility in how you get in and out. You can unlock it with your fingerprint, a PIN, the Philips app, a physical key, or even voice commands through Alexa or Google Assistant. Fingerprint unlock is fast—around 0.3 seconds, according to the manufacturer.

The app adds another layer of control. You can lock or unlock your door remotely, check access history, and create temporary or one-time PINs for guests, deliveries, or house help. That comes in handy if you don’t want to hand out permanent access. The auto-lock feature also helps cover those moments when you forget to lock the door, with a timer you can set between 30 and 180 seconds.

That said, there are a few things to keep in mind—the wifi features depend on the included gateway, so you’ll need to set that up for remote access and voice control. Installation is straightforward for most standard doors, but you may need to drill if your door isn’t a perfect fit. And this is still a smart lock, so battery management and occasional maintenance are part of the experience.

We may earn a commission from links on this page. Deal pricing and availability subject to change after time of publication.

Most window air conditioners follow a simple formula: cool the room, maybe add a fan setting, and leave it at that. The LG LW8023HRSM window air conditioner, currently on sale for $399.99 on StackSocial, takes a slightly more flexible approach. It still installs like a typical window unit, but it adds heating and smart controls, making daily use easier. For someone cooling a bedroom, small apartment living room, or home office, the main appeal here is convenience. You can control the unit with a remote, the onboard buttons, or the LG ThinQ app on your phone. If you already use Amazon Alexa or Google Assistant, you can also adjust the temperature with a voice command instead of getting up to press buttons.

The cooling capacity is 7,600 BTU, which LG recommends for rooms up to 330 square feet. In practical terms, that size works well for most bedrooms, studio apartments, or compact office spaces. It should bring the temperature down fairly quickly after a hot afternoon, especially if the room stays closed. This unit also includes 3,850 BTU of heating, which can be helpful during cooler months when you want a little warmth without turning on central heat. You can also switch between cool, heat, fan, and dehumidify modes, depending on what the room needs that day. Two cooling speeds and two fan speeds give you some control over how aggressively the unit runs. Airflow is adjustable in four directions, so you can angle the air away from your bed or couch.

LG lists the noise level at about 50–52 dB, so it produces a steady background hum, but not enough to drown out conversation or a TV. Rounding things out, there’s a 24-hour programmable timer that lets you schedule the AC to turn on before you get home or shut off overnight. You’ll also find an auto-restart function that restores your previous settings after a power outage, so you don’t have to reset everything. The main limitation is coverage—at this size, it’s built for smaller rooms, not large open living spaces. But if you want a window unit that cools reliably and gives you a few more ways to control it, this one fits the role without stepping into premium pricing.

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Apple’s latest tablet is still one of the most powerful pieces of hardware you can carry in a backpack, and right now, the refurbished 13-inch M4 iPad Pro is on sale for $899.99 on StackSocial. That price gets you the 256GB Wi-Fi model in Space Black with a Grade-A rating, meaning it should look and work like new with little to no visible wear. If you need more storage or cellular, prices scale up: 256GB with Wi-Fi + 5G is $999.99, 512GB Wi-Fi is $1,044.99, and configurations go up to 2TB with Wi-Fi + 5G at $1,674.99. All models include a USB-C charger and a 30-day third-party parts-and-labor warranty, and they ship only within the contiguous U.S.

The 13-inch OLED display is sharp at 2,752 by 2,064 pixels, and it gets extremely bright for HDR video. Colors look rich without being oversaturated, and scrolling feels smooth thanks to the adaptive refresh rate. The M4 chip inside is the same class of processor Apple puts in its laptops, so this tablet can handle heavy tasks like editing high-resolution photos, cutting 4K or even 8K video, or juggling multiple apps without slowing down. It’s also thin at 0.20 inches and weighs about 1.28 pounds, so it’s easier to carry than most laptops. Battery life is rated up to 10 hours for web browsing or video playback, though demanding work will likely get you closer to seven hours, notes this PCMag review.

Beyond performance, it covers the basics well. There are 12MP cameras on both sides for video calls and quick photos, speakers that sound fuller than most tablets, clear microphones, Face ID for unlocking, and a Thunderbolt/USB 4 port for connecting a monitor or fast external drive. It runs iPadOS 17 and will support future updates, including iOS 18 and beyond. Accessories like the Apple Pencil Pro and Magic Keyboard work with it, but they are sold separately and add a noticeable amount to the total cost.

Even at a discount, this is a high-end tablet, suitable if you want more than what a standard iPad offers for streaming, email, and casual browsing. It makes sense if you want top-tier power in a thin, touch-first device.

Their goal is to use biometric data and blockchain to build age-verification measures directly into disposable vape cartridges.

Wired reports on a partnership between vape/cartridge manufacturer Ispire Technology and regulatory consulting company Chemular (which specializes in the nicotine market) — which they’ve named “Ike Tech”:

[Using blockchain-based security, the e-cig cartridge] would use a camera to scan some form of ID and then also take a video of the user’s face. Once it verifies your identity and determines you’re old enough to vape, it translates that information into anonymized tokens. That info goes to an identity service like ID.me or Clear. If approved, it bounces back to the app, which then uses a Bluetooth signal to give the vape the OK to turn on.

“Everything is tokenized,” [says Ispire CEO Michael Wang]. “As a result of this process, we don’t communicate consumer personal private information.” He says the process takes about a minute and a half… After that onetime check, the Bluetooth connection on the phone will recognize when the vape cartridge is nearby and keep it unlocked. Move the vape too far away from the phone, and it shuts off again. Based on testing, the companies behind Ike Tech claim this process has a 100 percent success rate in age verification, more or less calling the tech infallible. “The FDA told us it’s the holy grail technology they were looking for,” Wang says. “That’s word-for-word what they said when we met with them….”

Wang says the goal is to implement additional features in the verification process, like geo-fencing, which would force the vape to shut off while near a school or on an airplane. In the future, the plan is to license this biometric verification tech to other e-cig companies. The tech may also grow to include fingerprint readers and expand to other product categories; Wang suggests guns, which have a long history of age-verification features not quite working.

Read more of this story at Slashdot.

It’s safe to say that Project Hail Mary is a success. The movie has taken in over $300 million globally, making it the best showing for Amazon MGM yet, Variety reports. Amazon bought MGM for $8.5 billion in 2022. 

Creed III previously held the record for Amazon MGM, having grossed $276 million. Notably, the achievement for Amazon MGM is just versus its own markers, rather than against other production companies. But it’s certainly notable given streamers aren’t known for focusing on theatrical releases. 

With that said, Amazon MGM has pivoted recently, announcing last April that it planned to release 14 films in theaters this year. These titles include Is God Is (May 15), Masters of the Universe (June 5), and Verity (October 2).

Project Hail Mary is based on a 2021 novel by Andy Weir, author of The Martian. It follows Ryan Gosling as high school teacher Ryland Grace, who wakes up on a spacecraft with no idea who he is or why he’s there. It has garnered mostly positive reviews and a 95 percent rating on Rotten Tomatoes. 

This article originally appeared on Engadget at https://www.engadget.com/entertainment/tv-movies/project-hail-mary-is-already-amazon-mgms-highest-grossing-film-ever-112955144.html?src=rss

Apple’s 50th anniversary is this week — and Fast Company’s Harry McCracken just published an 11,000-word oral history with some fun stories from Apple’s earliest days and the long and winding road to its very first home computers:

Steve Wozniak, cofounder, Apple: I told my dad when I was in high school, “I’m going to own a computer someday.” My dad said, “It costs as much as a house.” And I sat there at the table — I remember right where we were sitting — and I said, “I’ll live in an apartment.” I was going to have a computer if it was ever possible. I didn’t need a house.

Woz even remembers trying to build a home computer early on with a teenaged Steve Jobs and Bill Fernandez from rejected parts procured from local electronics companies. Woz designed it — “not from anybody else’s design or from a manual. And Fernandez was one of those kids that could use a soldering iron.”

Bill Fernandez: The computer was very basic. It was working, and we were starting to talk about how we could hook a teletype up to it. Mrs. Wozniak called a reporter from the San Jose Mercury, and he came over with a photographer. We set up the computer on the floor of Steve Wozniak’s bedroom.

Well, the core integrated circuit that ran the power supply that I built was an old reject part. We turned on the computer, and the power supply smoked and burnt out the circuitry. So we didn’t get our photos in the paper with an article about the boy geniuses.

But within a few years Jobs and Wozniak both wound up with jobs at local tech companies. Atari cofounder Nolan Bushnell remembers that Steve Jobs “wasn’t a good engineer, but he was a great technician. He was pristine in his ability to solder, which was actually important in those days.” Meanwhile Allen Baum had shared Wozniak’s high school interest in computers, and later got Woz a job working at Hewlett-Packard — where employees were allowed to use stockroom parts for private projects. (“When he needed some parts, even if we didn’t have them, I could order them.”) Baum helped with the Apple I and II, and joined Apple a decade later.

Wozniak remembers being inspired to build that first Apple I by the local Homebrew Computing Club, people “talking about great things that would happen to society, that we would be able to communicate like we never did [before] and educate in new ways. And being a geek would be important and have value.” And once he’d built his first computer, “I wanted these people to help create the revolution. And so I passed out my designs with no copyright notices — public domain, open source, everything. A couple of other people in the club did build it.”

But Woz and Jobs had even tried pitching the computer as a Hewlett-Packard product, Woz remembers:

Steve Wozniak: I showed them what it would cost and how it would work and what it could do with my little demos. They had all the engineering people and the marketing people, and they turned me down. That was the first of five turndowns from Hewlett-Packard. Steve Jobs and I had to go into business on our own.

In the end, Randy Wigginton, Apple employee No. 6 remembers witnessing Jobs, Wozniak, and Ronald Wayne the signing of Apple’s founding contract, “which is pretty funny, because I was 15 at the time.” And it was Allen Baum’s father who gave Wozniak and Jobs the bridge loan to buy the parts they’d need for their first 500 computers.

After all the memories, the article concludes that “Trying to connect every dot between Apple, the tiny, dirt-poor 1970s startup, and Apple, the $3.7 trillion 21st-century global colossus, is impossible.”

But this much is clear: The company has always been at its best when its original quirky humanity and willingness to be an outlier shine through.

Mark Johnson, Apple employee No. 13: I was in Cupertino just yesterday. It’s totally different. They own Cupertino now.

Jonathan Rotenberg, who cofounded the Boston Computer Society in 1977 at age 13: People want to hate Apple, because it is big and powerful. But Apple has an underlying moral purpose that is immensely deep and expansive…

Mike Markkula, the early retiree from Intel whose guidance and money turned the garage startup into a company: The culture mattered. People were there for the right reasons — to build something transformative — not just to make money. That alignment produced extraordinary results…

Steve Wozniak: Everything you do in life should have some element of joy in it. Even your work should have an element of joy… When you’re about to die, you have certain memories. And for me, it’s not going to be Apple going public or Apple being huge and all that. It’s really going to be stories from the period when humble people spotted something that was interesting and followed it

I’ll be thinking of that when I die, along with a lot of pranks I played. The important things.

Read more of this story at Slashdot.

The Wall Street Journal reports that Rivian “just won a yearslong battle with car dealers in Washington state that threatens the model of how cars are sold.”

After fighting to sell its vehicles directly to buyers, Rivian threatened to take its case to voters with a ballot measure to permit direct sales. The dealers blinked. The state’s dealer lobby not only dropped its opposition to a sales loophole for Rivian and rival EV-maker Lucid, but also encouraged lawmakers to approve one. The measure became law this month…

New auto entrants like Rivian, and Tesla before it, have spent years contending with long-established U.S. state laws that require new cars to be sold through independent franchised dealers. The auto startups — typically makers of EVs — argue that they can offer a better experience by selling directly to consumers, much as Apple sells iPhones through its own stores and online. Rivian CEO RJ Scaringe has said the company is committed to direct-only sales because it’s more profitable and gives the company control over how its vehicles are sold, marketed and maintained. The Washington compromise riled traditional automakers, including General Motors, Ford and Toyota, which lobbied against it, arguing it unfairly advantages startups. A trade group representing the automakers called it discriminatory and argued the exception could one day open the door to Chinese EV makers…

German automaker Volkswagen is currently facing several lawsuits from dealers over its plan to sell new Scout vehicles directly to consumers. Dealers say independent franchises are vital to the car-buying process, creating competition between dealerships that keeps prices affordable for consumers, while providing valuable services such as repairs, warranty work and financing… Yet for Washington’s dealers, the prospect of putting franchise laws up for a popular vote laid bare a tough reality: given the choice, many car buyers want the freedom to avoid dealerships. Rivian’s polling, which the company shared with lawmakers, showed nearly 70% of respondents favored allowing direct sales when asked whether they would support manufacturers selling cars directly to consumers…
The fight comes at a critical time for Rivian, which is launching a new, more affordable SUV in a bid to make consistent profits amid a downturn in U.S. EV sales… Rivian is able to directly sell cars in roughly half of U.S. states, but a number of them limit how many locations the company can operate. They can’t disclose the price, though. For that, customers must go online.
The article notes that “Following the win, Rivian executives are eyeing other states that, like Washington, ban direct sales but also allow ballot initiatives: Arkansas, Ohio, Oklahoma, Montana, Nebraska and South Dakota…” It adds that lawmakers (from both parties) in the state of Washington had said “they have long felt pulled between giving consumers more car-buying freedom and protecting dealers, essentially small-business owners who are vital to local economies — and politically powerful.”
But an executive at the Washington State Auto Dealers Association said dealers supported this new law partly because it protects them by barring future automakers from selling directly in the state, and by requiring Rivian and Lucid to adhere to the same regulations that govern how dealers operate.

Read more of this story at Slashdot.

Yes, this week YouTube and Meta were found negligent in a landmark case about social media addiction.

But “it’s still far from certain what this defeat will change,” argues The Verge’s senior tech and policy editor, “and what the collateral damage could be.”

If these decisions survive appeal — which isn’t certain — the direct outcome would be multimillion-dollar penalties. Depending on the outcome of several more “bellwether” cases in Los Angeles, a much larger group settlement could be reached down the road… For many activists, the overall goal is to make clear that lawsuits will keep piling up if companies don’t change their business practices…

The best-case outcome of all this has been laid out by people like Julie Angwin, who wrote in The New York Times that companies should be pushed to change “toxic” features like infinite scrolling, beauty filters that encourage body dysmorphia, and algorithms that prioritize “shocking and crude” content. The worst-case scenario falls along the lines of a piece from Mike Masnick at Techdirt, who argued the rulings spell disaster for smaller social networks that could be sued for letting users post and see First Amendment-protected speech under a vague standard of harm. He noted that the New Mexico case hinged partly on arguing that Meta had harmed kids by providing end-to-end encryption in private messaging, creating an incentive to discontinue a feature that protects users’ privacy — and indeed, Meta discontinued end-to-end encryption on Instagram earlier this month.

Blake Reid, a professor at Colorado Law, is more circumspect. “It’s hard right now to forecast what’s going to happen,” Reid told The Verge in an interview. On Bluesky, he noted that companies will likely look for “cold, calculated” ways to avoid legal liability with the minimum possible disruption, not fundamentally rethink their business models. “There are obviously harms here and it’s pretty important that the tort system clocked those harms” in the recent cases, he told The Verge. “It’s just that what comes in the wake of them is less clear to me”.
The article also includes this prediction from legal blogger/Section 230 export Eric Goldman. “There will be even stronger pushes to restrict or ban children from social media.” Goldman argues “This hurts many subpopulations of minors, ranging from LGBTQ teens who will be isolated from communities that can help them navigate their identities to minors on the autism spectrum who can express themselves better online than they can in face-to-face conversations.”

Read more of this story at Slashdot.

“It’s time to charge for access,” argues a new opinion piece at The Register. Begging billion-dollar companies to fund open source projects just isn’t enough, writes long-time tech reporter Steven J. Vaughan-Nichols:

Screw fair. Screw asking for dimes. You can’t live off one-off charity donations… Depending on what people put in a tip jar is no way to fund anything of value… [A]ccording to a 2024 Tidelift maintainer report, 60 percent of open source maintainers are unpaid, and 60 percent have quit or considered quitting, largely due to burnout and lack of compensation. Oh, and of those getting paid, only 26 percent earn more than $1,000 a year for their work. They’d be better paid asking “Would you like fries with that?” at your local McDonald’s…

Some organizations do support maintainers, for example, there’s HeroDevs and its $20 million Open Source Sustainability Fund. Its mission is to pay maintainers of critical, often end-of-life open source components so they can keep shipping patches without burning out. Sentry’s Open Source Pledge/Fund has given hundreds of thousands of dollars per year directly to maintainers of the packages Sentry depends on. Sentry is one of the few vendors that systematically maps its dependency tree and then actually cuts checks to the people maintaining that stack, as opposed to just talking about “giving back.”

Sentry is on to something. We have the Linux Foundation to manage commercial open source projects, the Apache Foundation to oversee its various open source programs, the Open Source Initiative (OSI) to coordinate open source licenses, and many more for various specific projects. It’s time we had an organization with the mission of ensuring that the top programmers and maintainers of valuable open source projects get a cut of the tech billionaire pie.
We must realign how businesses work with open source so that payment is no longer an optional charitable gift but a cost of doing business. To do that, we need an organization to create a viable, supportable path from big business to individual programmer. It’s time for someone to step up and make this happen. Businesses, open source software, and maintainers will all be better off for it.

One possible future… Bruce Perens wrote the original Open Source definition in 1997, and now proposes a not-for-profit corporation developing “the Post Open Collection” of software, distributing its licensing fees to developers while providing services like user support, documentation, hardware-based authentication for developers, and even help with government compliance and lobbying.

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Project Hail Mary has now grossed $300.8 million globally after earning another $54.1 million this weekend from 86 markets, reports Variety, noting that after just nine days it’s now Amazon MGM’s highest-grossing film ever. And last weekend it had the best opening for a “non-franchise” movie in three years, adds the Associated Press — the best since 2023’s Oppenheimer:

Project Hail Mary, which cost nearly $200 million to produce… is on an enviable trajectory. Its second weekend hold was even better than that of Oppenheimer, which collected $46.7 million in its follow-up frame.

But the movie is based on a book by The Martian author Andy Weir, described by one news outlet as “a former software engineer and self-proclaimed ‘lifelong space nerd’… known for his realistic and clear-eyed approach to scientifically technical stories.”

Project Hail Mary has plenty of real science in it, whether it be space mathematics, physics, or astrobiology… The film’s namesake project is even comprised of the space programs of other nations, such as Roscosmos from Russia, the Chinese space program, and the European Space Agency…

The story relies on work NASA has done regarding exoplanets, or planets outside our solar system… [This includes a nearby star named Tau Ceti approximately 12 light years from Earth which is orbited by four planets — two once thought to be in “the habitable zone” where liquid water can exist.] Tau Ceti has long been the setting used by sci-fi authors and storytellers. Isaac Asimov used it for his Robot series. Arthur C. Clarke’s “Rama” spacecraft came across a mysterious tetrahedron in the Tau Ceti system. Authors Ursula K. Le Guin and Kim Stanley Robinson also set stories in Tau Ceti, and it also serves as the extrasolar setting of the 1968 Jane Fonda film Barbarella. Most recently, the Bungie video game Marathon is set in the far-off system, serving as part of the background story for the extraction shooter, about a large-scale plan to colonize the Tau Ceti system.

The movie also mentions 40 Eridani A, according to the article, a real star about 16 light-years away that was said to be orbited by the fictional planet Vulcan, home to Star Trek’s Mr. Spock, and mentioned in Frank Herbert’s Dune as the planet of at least one alien species.

And in a video on IMAX’s YouTube channel, the film’s directors explain how for a crucial scene they used non-visible-light photography, which is also an important part of modern astronomy. “Even the credits incorporate real astrophotography into the final moments,” the article points out, using the work of award-winning Australian astrophotographer Rod Prazeres. “The only difference between his work of capturing space data in images and what ended up on the big screen was that he gave them ‘starless versions’ of his photographs to make it easier to place credit text over them.”

Prazeres wrote on his web site that he was touched the producers “wanted the real thing… In a world where CGI and AI are everywhere, it meant a lot…”

Read more of this story at Slashdot.