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Sonos has reportedly laid off around 100 employees on Wednesday, according to The Verge. Workers from the company’s marketing department allegedly bore the brunt of the hit. The cuts come as Sonos tries to simultaneously sell the public on its new Ace headphones and fix the rebuilt Sonos mobile app, which CEO Patrick Spence admitted was the result of his push for development speed.

The company confirmed the layoffs to The Verge. “We made the difficult decision to say goodbye to approximately 100 team members representing 6 percent of the company,” Spence said in a statement. The company is also reportedly “winding down” some customer support offices, including one in Amsterdam scheduled for shutdown later this year. Sonos’ LinkedIn page reports 1,800 employees worldwide, and the six-percent figure quoted in the statement would put it at about 1,650 workers. The company’s last layoffs, in June 2023, slashed seven percent of its workforce.

Although Engadget’s review was largely impressed with the company’s new Ace headphones, the app complaints largely overshadowed the highly anticipated hardware launch. Designed to address “performance and reliability issues” and rebuild the developer platform with “modern programming languages that will allow us to drive more innovation faster,” the app launch has been a debacle. It’s created headaches for the company’s most loyal customers and threatened to drag down the brand as it pushes into new product categories. It even led to the delay of two new products that were otherwise ready to roll.

The new Sonos app for Android, iOS and desktop launched in May without core functionality like sleep timers and alarms. Customers reported problems rearranging speakers in different rooms, some only working intermittently and problems completing other basic tasks. Others even said they often couldn’t load the app on the first try.

For a taste of how broken the app is, Spence laid out a timeline to repair it in a blog post late last month. July and August were dedicated to improving stability when adding new products and implementing Music Library improvements. An August and September window is reserved for improving volume responsiveness, user interface, stability and error handling. September and October will include tweaks to alarm consistency and reliability, and the restoration of editing playlists and queues. Improvements to settings will also be addressed. (Phew!)

Today’s announcement wasn’t received well by the company’s Reddit community, which has been vocal about the app’s problems since its launch. Some viewed today’s reported layoffs as targeting 100 workers when one high-profile one would’ve done the trick. “I have to say that, I didn’t have both feet in the door to fire Patrick Spence, but any CEO who leaves his employees hung out to dry and then signs the paper that lays them off is a scumbag piece of shit,” u/teryan2006 wrote.

“Since I took over as CEO, one of my particular points of emphasis has been the imperative for Sonos to move faster,” Spence said on a July earnings call. “That is what led to my promise to deliver at least two new products every year — a promise we have successfully delivered on. With the app, however, my push for speed backfired.”

This article originally appeared on Engadget at https://www.engadget.com/audio/sonos-still-trying-to-fix-its-broken-app-reportedly-lays-off-100-employees-203224705.html?src=rss 

Set between the original Alien and its more bombastic sequel, Aliens, Fede Alvarez’s Alien: Romulus echoes the the greatest elements of those films, while also delivering his own spin on the 45-year-old franchise. There’s the elegant interplay of light and shadow from Alien, along with nods to Ridley Scott’s artful aesthetic. And there are finely crafted set pieces evoking the horror and sheer badassery of James Cameron’s Aliens. But Alvarez also expands the Alien universe by focusing on a group of twenty-somethings who were raised in a decrepit Weyland-Yutani colony, and whose main goal is to escape the bureaucratic clutches of their corporate overlords.

While it’s easy to dismiss Alien: Romulus as a mere rehash meant to appeal to younger audiences, it’s hard to deny the sheer level of craft on display. Alvarez’s eye for composition was clearly influenced by the series auteurs, from the opening shot of a field of stars that reveals a crashed ship rendered invisible by the blackness of space, to later sequences set alongside a planet’s ice-filled rings. And he can masterfully orchestrate tension for both action and horror, another skill borrowed from Scott and Cameron. Just like Alvarez’s hyper violent (and excellent!) Evil Dead remake, he’s able to put his own spin on an iconic horror franchise without being a slavishly devoted fanboy.

Our Ripley counterpart for Alien: Romulus is Rain (Cailee Spaeny), a young woman who recently lost both of her parents to a Weyland-Yutani mining operation. The only family she has left at a sun-less backwater colony is her brother Andy (David Jonsson), a malfunctioning android who’s directed to care for her.

After Rain’s request to leave her colony is denied and her mandatory work commitment is unjustifiably extended by several years, she joins a group of friends to covertly head off-world. The plan involves stealing cryostasis pods from a decommissioned space station — which, as you might expect, houses untold horrors. As Rain and her friends explore the station, they encounter facehuggers, get a quick lesson in Xenomorph biology and find themselves being hunted down one by one.

Admittedly, we’ve seen much of this before, but I still think there’s value in introducing an entirely new generation to the Alien franchise. Scott’s Prometheus and Alien: Covenant were intriguing for longtime fans, but they were also bogged down by the director’s own fascination with androids and Weyland-Yutani backstory. They weren’t exactly the best entry-point into the series. And sure, Alien and Aliens are easy to find and remain fantastic films, but I’ve personally found it tough to get some younger audiences to engage with older films.

By focusing on a twenty-something crew instead of older, world-weary space truckers or colonists, Alien: Romulus also better captures the viewpoint of a new generation of viewers. But Millennials and Gen Z are well aware the Earth is dying, and they’ve seen how global corporations got us into this mess.

It’s not hard to see the parallels between Weyland-Yutani sending workers to their doom to unearth the secrets of the Xenomorphs – creatures that could potentially wipe out all of humanity – to the fossil fuel companies ignoring the climate crisis they helped create. The human cost doesn’t matter, not when there’s massive profit potential and shareholder value on the horizon.

This article originally appeared on Engadget at https://www.engadget.com/entertainment/tv-movies/alien-romulus-is-a-magnificent-return-to-form-193025453.html?src=rss