Kalakshar US

I don’t want or need 99 percent of the stuff on display at CES — don’t get me wrong, most of what we’re seeing this week is impressive in one way or another, but nothing had seemed like a necessary addition to my life until I happened upon the Copper Charlie, a battery-equipped induction range that plugs directly into a standard 120V outlet. Yes, among the robots, future cars, bionic exoskeletons and AI everything, the thing that’s exited me most is a stove (OK, the fluffball robot is pretty great).  

Up until a few years ago, I had no idea natural gas cooktops were bad for your health, not to mention the environment. Unfortunately, if your home is set up on gas, it’s not easy or cheap to switch up to electric. Nearly all full-sized induction stoves require a dedicated 240V outlet and if you don’t have one where the stove goes, a call to a electrician is likely in your future. 

Charlie is a full-sized oven and range that packs a ceramic glass cooktop, a 4.5 cubic-foot oven and an integrated 5 kWh battery. That battery allows the stove to run off a standard plug by storing up a charge that can bump up the power output when it’s time to cook (it can also cook three to five meals during a power outage). 

In person, the range looks properly high-end with a large LCD display, wooden dials and handle, stainless steel finish and clean lines. It also has a high-end price tag at $6,000. It should qualify for a 30-percent tax credit as part of the Inflation Reduction Act, so it could end up costing around $4,200 instead. 

A rewiring job for a 240V outlet shouldn’t run you more than $500 for the average house, though if you’re dealing with an older home with tricky wiring, that price could go up. And if you’re in an apartment, that may not be an option at all. Still, after rebates and deducting the cost of an outlet conversion, you’re still paying around $3,500 for Charlie. That’s cheaper than some induction ranges, more expensive than others — but none of those models have a back-up battery that’ll let you make mac and cheese when the power goes out. 

The Charlie from Copper is expected to ship in April of this year and is open for pre-orders.  

This article originally appeared on Engadget at https://www.engadget.com/home/someone-please-buy-me-this-battery-powered-plug-in-induction-range-from-ces-160250464.html?src=rss 

The CES keynote will never be the same. 

This is my 12th CES, so there aren’t many things that surprise me at this point, at least in terms of press conferences. All of the big companies used to try to one-up each other (celebrity appearances were the main method, although it’s not as common now). However, the venue itself has now become the battleground for CES addresses. 

This week, Delta was the first company to host a CES press conference, or as the emcee called it, “a show,” at the Sphere in Las Vegas. You’ve likely heard about the high-tech venue at this point, which usually hosts immersive concerts rather than trade show events. Debuting in 2023, the “multi-sensory experience” is known for having both the interior and exterior draped in LED displays and offering 4D effects like wind and smells. 

Three different credentials were required to attend the event in the venue which holds 18,600 people, one of which required a special trip to obtain. Once inside, Delta had various installations to celebrate its 100th anniversary and lines for the company’s merchandise were absurdly long. People even skipped the Lenny Kravitz performance at the end to queue up for those goods. 

You could hear every realistic boom and pop.

There was also food that may have been similar to what the airline serves in-flight, and snacks that you’d expect on a Delta trip, like Biscoff cookies. Of course, the company stacked the audience with employees and guests, plus it trotted out a couple of celebrities — Viola Davis and Tom Brady — which I saw as a throwback to the CES keynote days of old. Then there was the full-blown concert at the end: Lenny Kravitz with a full band. This gave the attendees the experience of coming to a concert at Sphere, where U2, Dead & Company, Phish and more have performed in the past. 

But, as you might expect, the most interesting aspect of the whole thing is how Delta took advantage of the Sphere’s 4D capabilities. Video of each speaker was projected on the interior of the venue set on various backdrops that transformed the hall into spaces ranging from a dome to an observation deck and an airplane cabin. Several times during CEO Ed Bastian’s address there were interactions with planes where the seats rumbled and blown air provided a sense of flying, complete with directional, immersive audio. There was also a cameo by Uber CEO Dara Khosrowshahi where an Uber Eats delivery arrived at the stage with a hazelnut-flavored coffee for Bastian and those aromas were wafted into the audience. 

Perhaps the most dazzling aspect of the whole “show” was the end, where cockpit video of a plane landing was projected on the interior of the Sphere. And when the plane landed, everyone’s seats rumbled just liked they do when you hit the tarmac in real life. This was quickly followed by my first indoor fireworks show, designed to cap off Delta’s 100th anniversary. I will say the immersive audio of the Sphere really enhanced this, and I doubt I’ll experience anything like it again. I feel confident I’ll never see indoor fireworks unless I return to this very venue. 

Seats rumbled just like they would in real life.

Of course, there was news. It wouldn’t be a CES press event without some. Delta announced its AI Concierge, an assistant inside the Fly Delta app that the company built to relieve travel stress. The airline first announced the concierge concept at CES 2020, but now it’s working to make it a real thing that anticipates travel needs. Beginning this year, customers will be able to interact with Delta Concierge via text or voice. Eventually, the platform will be able to do things like hail a Joby VTOL aircraft to drop you off at the airport to avoid traffic.

The AI tech can recognize both departure and arrival needs, including arranging a rideshare pickup for transport to a hotel. At the airport, you won’t have to go through a TSA checkpoint, you just keep walking to your gate thanks to PreCheck Touchless ID. If you’re wearing AR glasses during your trip, wayfinding then becomes a breeze with the travel assistant lighting your path. And once you’re on the plane, the Delta Concierge will eventually automatically connect you to Delta Sync Wi-Fi and the seatback entertainment system to display customized info and content recs just for you. 

Delta’s event was easily the most impressive CES presentation I’ve attended. And I’ve been to press events where each person had a PC and a VR headset at their seat. I don’t know that any other company will invest what the airline did in the hosting and production this week, but it was immediately apparent that the bar had been raised, and that a ballroom at Mandalay Bay or The Venetian will no longer suffice if you’re looking to make a lasting impression.

Lenny Kravitz closed the show, and he’ll close this post.

This article originally appeared on Engadget at https://www.engadget.com/transportation/delta-changed-the-game-for-ces-press-conferences-162401293.html?src=rss 

Last year, Honda teased its first two homegrown EVs with the Series 0 Saloon and Space-Hub. But now at CES 2025, those vehicles are getting one step closer to production by graduating from concepts to prototypes while getting updated names along the way: the Honda 0 Saloon and 0 SUV.

But while we wait for them to officially hit the road sometime in 2026, I wanted to take a closer look at the evolved styling of Honda’s upcoming electric cars. Particularly the 0 SUV, not only because it’s gotten a much larger facelift, but lets admit it, it’s what we in the crossover-hungry US really want.

On the outside, the Honda’s 0 SUV looks like a mix between the Polestar 3 and the Hyundai Ioniq 9. It’s got a really minimalist, almost spaceship-like design that eschews that teardrop shape you see in a lot of other EV SUVs for something slightly boxier. This gives you more headroom for rear seat passengers and tons of extra vertical cargo space in back. The SUV’s pixelated headlights help reinforce its digital pedigree while I think Honda did a much better job in back of trying to make a clean and simple rear end without ending up a huge blank slate like on the Ioniq 9.

The 0 SUV’s overall proportions almost make it look like a tall, lifted wagon, especially when sat next to the 0 saloon. But that’s not necessarily a bad thing. Inside, Honda continues with the clean lines, though I wouldn’t necessarily read much into the general placement and look of its screens and dash. Like a lot of pre-production cars, those details are very much subject to change before its design is properly finalized. Same goes for those side-view cameras, which due to US laws, still don’t comply with regulations. However, Honda’s streamlined cabin does line up with the company’s “Thin, Light and Wise” design philosophy, which includes the move to a steer-by-wire driving system instead of relying on more traditional physical linkages.

But enough talking, let’s check out the cars.

The Honda 0 SUV prototype

The Honda 0 Saloon prototype

This article originally appeared on Engadget at https://www.engadget.com/transportation/evs/a-closer-look-at-the-slick-honda-0-suv-and-saloon-prototypes-at-ces-2025-134550129.html?src=rss 

As Engadget’s chief The Last of Us correspondent, I was pretty pumped to find out during Sony’s CES 2025 press conference that season two of the HBO show would come out in April. But Naughty Dog head Neil Druckmann also teased an “location-based experience exhibit” that would transport participants into the tunnels of Seattle filled with Infected. That’s an area straight out of The Last of Us Part II, and today I got a chance to try the proof-of-concept experience. It was short, minimal, and a little rough, but it was also another good example of how Sony is trying to take its tentpole franchises from PlayStation and put them in entirely different experiences.

Unfortunately, Sony had a strict “no cameras or videos” policy for this experience, so you’ll have to rely on my words and a little video the company showed about the tech behind it.

I entered the experience with three other participants after a quick run-down of the gear we’d use: two of us got shotguns, and two got flashlights (sadly I was stuck with a flashlight). Both have a bunch of small sensors attached to the front so that they could interact with the environment we entered; the flashlight felt like a real flashlight with some sensors on the end, but the guns were crude tubes with a handle and trigger; the trigger felt pretty good from my quick test of it before we got started. There are also sensors on the barrel of the gun that detect a “pump” motion to reload it.

Once we were outfitted, an actor playing a member of an unnamed militia briefed us on the mission: some of our fellow mercenaries disappeared in the Seattle subways — perhaps kidnapped by the WLF, perhaps taken down by Infected. Our job was to find him… what could go wrong? 

Our guide directed me and the other flashlight-holder to start lighting up the subway station — which was created by three giant screens surrounding us. The walls of the room were made of LED panels, and the sensors on the flashlights interacted with them to track my moment. I needed to be pretty close to the screens for it to recognize my flashlight, but it was pretty cool to be lighting up a virtual environment in real time. 

Then, of course, a clicker scream puts the group on high alert — and given that it came from a specific location we all swing our flashlights in that direction to identify the threat. Just as in the game, though, the disgusting infected creature shambled closer to us, let out another scream and came charging forward, at which point the shotgunners blasted away with abandon. That noise brought more Infected charging into the space; I would light them up with the flashlight and my partner shot them down. 

Things calmed down, momentarily — then a massive subway car started sliding out of its precarious place, which trigged one of the demo’s coolest effects. The floor was rigged for haptic feedback, and while we had felt it rumble at various disturbances, this was by far the biggest impact. The combo of the visuals, audio and haptics all made it feel, well, immersive. I certainly didn’t forget I was in a demo, but it was cool nonetheless. Beyond the floor haptics, Sony says that there are even scents pumped into the room to further the atmosphere, but I wasn’t able to detect anything myself.

Then we got the obligatory cameo from The Last of Us Part II co-protagonist Ellie and her companion Dina, as they scrambled away from Infected who start chasing them down. One knocked Ellie down and started ripping at her throat until Dina caught up and pulled it off her, at which point they sprinted away. Unfortunately, the disturbance brought a massive swarm of monsters coming at us, which brought on the big battle of the experience. I started illuminating the hordes and my companion blasted them down, but then dozens started overwhelming the screens and the screams got more and more intense until everything cut to black as our crew was overrun. That’s that! 

I’m not judging the experience too harshly, because Sony was clear both in its press conference and before we tried it that this is a very early proof of concept. The main thing that pulled me out of it was that the space we were in is static — there’s no way to run away or move beyond the boundaries of what we were presented with. And then, as I mentioned, you needed to be relatively close to the “walls” for them to recognize the flashlight or gun, which meant that if you backed up to take in the scope of the space you gear might not work. 

The other thing is that I think the barrier to it being truly scary or more immersive is that I couldn’t ignore the fact that the threat was on a screen rather than in the room with me. There’s no doubt that having full control in an environment like this would be a wild way to play a game like this, but it was all just a little too on the rails and removed from the space I was in.

I’m trying to track down anyone from Sony who can tell me more about the genesis for this idea as well as where they see it going in the future. But Sony and Naughty Dog have already brought The Last of Us to a variety of other media, and this feels like a more high-tech vision of what Sony did in conjunction with Universal Studios when it brought the franchise to the Halloween Horror Nights that happens at the theme parks. Whether this is a one-off curiosity or something we see down the line in a more complete fashion, though, remains to be seen.

This article originally appeared on Engadget at https://www.engadget.com/gaming/playstation/sonys-immersive-the-last-of-us-experience-at-ces-2025-dropped-me-into-a-subway-filled-with-zombies-140010550.html?src=rss