Category: Technology

One of the most overly hyped, unfortunately named and curiously positioned cars has been officially killed. It’s the Afeela 1, better known as the PlayStation Car, and it was meant to be an ultimate intersection of personal mobility and digital media. It is, instead, dead, killed by a combination of headwinds that even the most pessimistic of mobility analysts couldn’t have foreseen when it was first revealed six years ago.

That said, the six year interval might have been the biggest blow to the Afeela 1’s chances.

How did we get here?

What was to become the Afeela 1 debuted at CES 2020 as the Sony Vision S, a car that made headlines not so much for the way it looked (it was pretty plain) or the way it was supposed to drive (Sony didn’t really talk feel). It was notable simply because it was a car from a company best known for TVs that looked amazing and video game consoles that were impossible to find.

A few years later, Sony paired up with Honda to show that this wasn’t just a Gran Turismo fantasy made manifest. This was going to be an actual production car. In 2025, it was given a price tag: $100,000, along with a maximum range of about 300 miles. With cars like the Lucid Air already on the road, going 400 miles on a charge and costing less, Afeela 1 looked out of date well before it entered production.

Back then, I said it was already shaping up to be a PS4 in a PS5 era, and a year later, the unveiling of a slightly taller SUV version didn’t exactly shift the fates in the Afeela’s favor.

That incredibly long rollout, teasing a car for six full years, was pretty damning, but that was far from the only factor in the demise of the Afeela 1.

A geopolitical EV catastrophe

The interior display is one of a few interesting aspects of the Afeela 1.

Back in 2020, the future was looking electrified. Manufacturers around the world were gearing up for an anticipated European ban on internal combustion by 2035, many of them promising to have fully electrified fleets years ahead of schedule.

Government incentives were generous, free chargers were popping up all over the place, and the global cheerleader for emissions-free motoring, Elon Musk, was still mostly respectable.

In the years that followed, everything fell apart, especially here in the US. Electric cars became a political firestorm, with Trump’s campaign taking every opportunity to decry them. Our federal rebates were scrapped, incentives for charger deployments were terminated and suddenly, the global automotive landscape became mired in a turbulent web of tariffs that shifted with the winds of hot air billowing around Washington.

EVs were now seen as an incredible folly by a considerable percentage of American consumers. The CEO of the world’s largest EV manufacturer goose-stepping along to the beat didn’t help. What was a market ripe for electrified innovation in 2020 turned into a mobility landmine by 2026.

Autonomy when?

Afeela 1

One of the key selling points of the Afeela 1 was to be Sony deploying the full might of its digital empire onto four wheels. PlayStation gaming on the go! High definition movies in the dashboard! Ratchet & Clank on a weird little LCD on your bumper for some reason!

This was exciting stuff back in 2020 because autonomous cars were right around the corner. Waymo was doing incredible things, others were hot on its heels, and a significant chunk of industry analysts were predicting that hands-off, eyes-closed autonomy would be a tick of a box on vehicle configurators in just a few years’ time.

Fast-forward to 2026 and, in many ways, we’re no closer to that dream. Sure, we have a number of hands-off driver assistance systems available today, some more aspirationally named than others, but there are no mass-market, eyes-off autonomy systems on American roads.

That means the inclusion of Sony’s media empire isn’t quite the flex it was. Sure, your kids in the back seat can have a hell of a time, but chances are they already have enough devices to keep them well entertained without you having to drop six figures on a new car from a new company with a funny name.

The intangibles

Afeela 1

Another key strike against the Afeela 1 was that it, quite simply, didn’t look very good. That first Vision concept had a few striking lines about it. But by the time Sony Honda Mobility came about, they’d all been ironed out. A white, featureless sedan is something that’s hard for anyone to get excited about.

Not every car needs to be exciting to behold, but the Afeela 1 didn’t really deliver in other regards. I’ve sat in a few different versions of prototypes, and while they were all nice enough, none held a candle to the sorts of posh appointments you’d expect were you to drop $100,000 on a Mercedes-Benz or a BMW.

Sony was really betting on the car’s media chops to deliver value to its hardcore fans, but there are plenty of amazing-sounding cars on the road today, cars that look better and cost less than the Afeela 1 would have. Sony cachet simply wasn’t enough.

Honda’s cold feet

Honda 0 Series α EV

The final death knell of the Afeela 1 came at the hands of Honda. While the Afeela 1 was born of a Sony dream, it was to be produced in partnership with Honda. When I met with Honda CEO Toshihiro Mibe last year, he was already getting cool on the company’s American EV prospects. “The volume initially will probably be less than we had envisioned earlier,” he said.

Since then, Honda took things further, canceling its 0 Series EVs. That struck me as a real shame. Where the Afeela 1 looked anonymous and was set to cost too much, the 0 Series machines were stunning and intended to be affordable. They had a real chance.

Their death effectively ripped the platform right out from under the Afeela 1. It’s conceivable that Sony could take its content, car and characters to a new platform, and indeed, the press release on the cancellation of the Afeela 1 leaves the door open, saying: “SHM will continue discussions with Sony and Honda regarding its future business plans.” But, that seems extremely unlikely to me.

So the Afeela 1 is dead, and so too is the dream of the PlayStation car. If you’ve read my coverage of the thing in the past, you know that I was never bullish on it. Pessimistic is closer to the truth, yet I still feel incredibly bad about this turn of events. I spoke with and interviewed a fair few Sony Honda Mobility employees over the years, and all were extremely excited about what they were building.

And why not? They were trying to do something new, a radically different experience in a wholly new car from a wholly new brand. That’s not something that comes along very often. Sadly, the Afeela 1 will go down in history as a lesson of exactly why that is.

This article originally appeared on Engadget at https://www.engadget.com/transportation/evs/the-afeela-1-came-too-late-and-now-is-gone-too-soon-164845008.html?src=rss 

Meta is laying off more employees. Of the hundreds of cuts made on Wednesday, the Reality Labs division is one of the prime recipients. The layoffs come a day after news broke that Meta executives (sans Mark Zuckerberg) could be set for windfalls of up to $2.7 billion each under new pay packages.

Today’s cuts of “hundreds” fall well short of its reported 20 percent workforce reduction plans that leaked earlier this month. At the end of 2025, Meta’s workforce stood at around 79,000 people. However, this could simply be a smaller initial round before the larger cuts come into play.

Earlier in March, Meta reportedly asked some managers to prepare cost-cutting plans. The company is looking to offset its costly AI infrastructure investments, which include a plan to spend $600 billion on data centers by 2028.

The layoffs are also said to affect Meta’s recruiting, sales, Facebook and global operations divisions. But the Reality Labs cuts further illustrate how the company’s VR and metaverse bets failed to pay off. Today’s cuts follow layoffs in January that shed over 1,000 jobs from the division, which has lost over $70 billion since the beginning of 2021. Now, despite the 2021 rebranding that pivoted from social media to the metaverse, Zuckerberg now increasingly views Meta as an AI titan.

In January, the CEO forecast the AI world Big Tech is creating when he said he was beginning to see “projects that used to require big teams now [being] accomplished by a single very talented person.” That sure sounds peachy for the dwindling few reaping the benefits. Those farther down the food chain may have different thoughts.

Speaking of that sweet, sweet C-suite life, Meta is taking a page from Tesla’s Elon Musk pay package. SEC filings reveal that the company is planning a lucrative new incentive system for six executives: CTO Andrew Bosworth, CFO Susan Li, COO Javier Olivan and CPO Chris Cox. They’re set to receive more stock-based compensation tied to performance. Bosworth, Cox, Li and Olivan could reportedly be looking at bounties of up to $2.7 billion apiece.

This article originally appeared on Engadget at https://www.engadget.com/big-tech/meta-lays-off-hundreds-of-workers-including-more-from-reality-labs-171536879.html?src=rss 

Sony already has a robust collection of soundbars in its Bravia Theater lineup. Today, the company is adding two more, as well as new rear speakers and three new subwoofers. The Bar 7 will sit in Sony’s premium tier, alongside the existing (and larger) Bar 8 and Bar 9 models, while the Bar 5 will offer a more compact and more affordable solution just below the current Bar 6.

The Bravia Theater Bar 7 utilizes nine total drivers to produce Dolby Atmos, DTS:X and IMAX Enhanced sound. More specifically, that arrangement includes three woofers, two tweeters, two up-firing units and two side-firing drivers, in addition to four passive radiators. Compare that to the Bar 8 and Bar 9 which house 11 speakers and 13 speakers respectively. Sony says the Bar 7 has new two-way front speakers and the center, up-firing and side-firing drivers all have the company’s oval-shaped X-Balanced design. In terms of features, you get Sony’s 360 Spatial Sound Mapping and Sound Field Optimization for more immersive audio performance.

The Bar 7 will come bundled with Sony’s new Bravia Theater Sub 7 for $870, but you can also purchase it without the subwoofer (pricing TBA). For a more robust system, the Bar 7 can be paired with the company’s Bravia Theater Rear speakers.

Sony Bravia Theater Sub 7

Speaking of subwoofers, Sony debuted three new models today. The aforementioned Sub 7 is the smallest, employing a 5.1-inch driver for the low-end tone. Move up to the new Sub 8 and you get a 7.9-inch driver for “enhanced atmosphere, clearer bass,” according to the company. The largest of the new options is the Sub 9 which has two opposing 7.9-inch drivers for “powerful, clean bass.” Unfortunately, these add-ons don’t come cheap: the Sub 7 is $330, the Sub 8 is $500 and the Sub 9 is $900.

Sony also touts dual subwoofer connectivity as part of the refreshed Bravia Theater lineup. All three of the new subs can be used as a pair, so long as you have a Theater Bar 7, Theater Bar 8 or Theater Bar 9. You can also use two subwoofers with some of Sony’s receivers (STR-AZ7000ES, STR-AZ5000ES, STR-AZ3000ES, STR-AZ1000ES and STR-AN1000). The company explains that opting for two subs provides “stronger, more balanced bass,” obviously, that fills the room for a more “cinematic effect.” Sony also says two subwoofers enable “richer, fuller bass” at lower volumes.

Rear speakers are something you’ll need if you truly want immersive audio, and the new Theater Rear 9 units are a big upgrade over the current Rear 8s. Most notably, you get an up-firing driver for enhanced overhead sounds along with two passive radiators, in addition to a tweeter and a woofer. The drivers all have aluminum diaphragms instead of paper, and the Rear 9s come with a swivel wall mounts that enable 60-degree movement. A pair of Theater Rear 9 speakers will set you back $750.

Sony Bravia Theater Bar 5

If all of that sounds too expensive for your living room, Sony has something more affordable in the midrange area. The Bravia Theater Bar 5 is just $350 and still offers Dolby Atmos and DTS:X audio. It doesn’t have up-firing drivers, it’s a 3.1-channel setup, so any overhead effects will be simulated. Still, that’s probably okay if you have a smaller space or live in an apartment as the upmixing tech (S-Force Pro Front Surround and Vertical Sound Engine) should provide ample immersion. The Bar 5 does come with a subwoofer though, and you can employ Sony’s Voice Zoom 3 feature for enhanced dialogue.

The Bravia Theater Bar 7, all three of the new subwoofers and the Rear 9 will be available for pre-order later this spring. The Bar 5 is up for pre-order starting today.

This article originally appeared on Engadget at https://www.engadget.com/audio/speakers/sony-adds-the-bravia-theater-bar-5-and-bar-7-to-its-soundbar-lineup-160000680.html?src=rss 

Low-quality, mass-produced AI songs have been flooding music streaming platforms like Spotify for a couple of years now. This is annoying, but relatively easy for fans to avoid. However, it leads to real problems for artists. There’s so much slop coming in that some gets falsely attributed to actual musicians on these platforms.

This messes with brand identity and audience retention, but Spotify is testing a new tool to help real artists exercise more control over their profiles. The platform’s Artist Profile Protection feature lets musicians review releases before they go live and become associated with their profiles.

This should prevent AI slop from creeping in, as the actual artist will have final say when 100 new songs show up out of the blue that sort of sound like them but with all of that pesky soul removed. It’s in beta right now and if an artist denies a track, it won’t be associated with their profile, won’t contribute to stats and won’t show up in user recommendations. This looks to be a simple and potentially effective solution to an ongoing problem.

“Music has been landing on the wrong artist pages across streaming services, and the rise of easy-to-produce AI tracks has made the problem worse,” Spotify wrote in a blog post. “We know how frustrating this can be for both artists and fans alike.”

This comes just a week after Sony requested the removal of more than 135,000 AI-generated songs from Spotify after it was discovered the tracks were impersonating real artists. This even happens to bands that have opted out of Spotify entirely. King Gizzard & the Lizard Wizard left the platform last year, to protest CEO Daniel Ek’s investment in a weapons manufacturing company, but a deepfake artist quickly filled the vacuum.

Some of this isn’t malicious. It’s a numbers game for the “creators” of these tracks. Statistics vary, but it’s been estimated that around 50,000 AI-generated songs get uploaded to Spotify each and every day. The platform deleted 75 million of these tracks last year. With this many uploads, it’s easy for tracks to accidentally end up on the wrong artist’s profile. Bad actors looking to attach their slop to a known quantity compounds the issue.

In any event, it’s good that Spotify is doing something about this. We don’t know when the tool will exit the beta phase and become available for all artists on the platform. That day can’t come soon enough. 

This article originally appeared on Engadget at https://www.engadget.com/ai/spotify-is-testing-a-tool-to-help-real-artists-deal-with-ai-slop-on-their-profiles-161013653.html?src=rss 

Anthropic has begun previewing “auto mode” inside of Claude Code. The company describes the new feature as a middle path between the app’s default behavior, which sees Claude request approval for every file write and bash command, and the “dangerously-skip-premissions” command some coders use to make the chatbot function more autonomously. 

With auto mode enabled, a classifier system guides Claude, giving it permission to carry out actions it deems safe, while redirecting the chatbot to take a different approach when it determines Claude might do something risky. In designing the system, Anthropic’s goal was to reduce the likelihood of Claude carrying out mass file deletions, extracting sensitive data or executing malicious code. 

Of course, no system is perfect, and Anthropic warns as such. “The classifier may still allow some risky actions: for example, if user intent is ambiguous, or if Claude doesn’t have enough context about your environment to know an action might create additional risk,” the company writes. 

Anthropic doesn’t mention a specific incident as inspiration for auto mode, but the recent 13-hour AWS outage Amazon suffered after one of the company’s AI tools reportedly deleted a hosting environment, was probably front of mind for the company. Amazon blamed that specific incident on human error, saying the staffer involved in the incident had “broader permissions than expected.”

Team plan users can preview auto mode starting today, with the feature set to roll out to Enterprise and API users in the coming days.

This article originally appeared on Engadget at https://www.engadget.com/ai/anthropic-releases-safer-claude-code-auto-mode-to-avoid-mass-file-deletions-and-other-ai-snafus-142500615.html?src=rss