Exploring the thriving world of online casinos with apps

In recent years, the landscape of gambling has been transformed by the digital revolution, offering a seamless transition from traditional brick-and-mortar establishments to the online domain. Central to this evolution is the proliferation of online casinos with apps, providing enthusiasts with unprecedented access to gaming action from the comfort of their mobile devices. These apps…

In recent years, the landscape of gambling has been transformed by the digital revolution, offering a seamless transition from traditional brick-and-mortar establishments to the online domain. Central to this evolution is the proliferation of online casinos with apps, providing enthusiasts with unprecedented access to gaming action from the comfort of their mobile devices. These apps… 

AMC Theatres will screen a Swedish movie ‘visually dubbed’ with the help of AI

On May 9, AMC Theatres will start showing a sci-fi movie that was shot in Swedish but will look like it was made in English instead. Watch the Skies, which was released in its home country as UFO Sweden, had undergone “visual dubbing” with the help of artificial intelligence. An AI company called Flawless used its technology to digitally alter the film’s images, making the actors look like they were truly speaking in English. Notably, the original actors recorded their own dialogues in English in a sound booth — Flawless AI’s technology merely altered the movements of their lips in the movie. 

On its website, Flawless says its TrueSync AI technology “captures every nuance of an actor’s performance and generates new lip movements that perfectly map to the new language audio, providing the perfect visual dub.” Variety says the tool is compliant with the rules set by SAG-AFTRA, which ended a four-month strike in 2023 after securing a deal with studios that protects members “from the threat of AI.”

Flawless AI’s technology could lower the barrier of entry into foreign films. It could make them more appealing to audiences resistant to watching subtitled movies and could provide a better experience for audiences in countries that normally dub movies in their native language. “Showing our materials to filmmakers, especially over the past year, they realize the potential from going to a local stage to a global stage,” the company’s co-founder, Scott Mann, told Variety. “It’s a huge opportunity to get your work out and it’s been invigorating. They are so excited about showing their work in a wider audience, and especially in America.”

Watch the Skies revolves around a teenager who believes that her missing father wasn’t dead but was abducted by aliens. To uncover the truth about her father’s disappearance, she teams up with UFO Club to look for him. AMC Theatres has committed to showing the film in 100 locations across America. 

This article originally appeared on Engadget at https://www.engadget.com/ai/amc-theatres-will-screen-a-swedish-movie-visually-dubbed-with-the-help-of-ai-130022232.html?src=rss 

The Morning After: A closer look at Facebook’s leadership

For all of the money and clout Meta has, it can’t stop the triennial emergence of a whistleblower revealing how awful its leadership is. Careless People, the tell-all memoir from former staffer Sarah Wynn-Williams is the latest, dishing plenty of dirt on the house of Zuckerberg. The book has shot to the top of The New York Times’ bestseller list despite Meta’s attempts to suppress it.

Engadget’s Karissa Bell summarized some of the more eye-watering details from the book, and even in highlight form, it’s wild. Like the fact Mark Zuckerberg, the billionaire world king of the internet, wanted the company to arrange for him to be mobbed when he landed in Asia. Or that Sheryl Sandberg didn’t quite grasp how difficult it is to transport live organs between countries.

There’s plenty of scorn for Joel Kaplan, the former George W. Bush staffer and friend of Brett Kavanaugh, who has long been seen as the figure behind Facebook’s rightward pull. Kaplan is accused of blocking attempts to address the company’s role in the Myanmar genocide. The book suggests Kaplan didn’t know Taiwan was an island, and that he reportedly harassed Wynn-Williams.

What’s surprising, really, is how unsurprising many of the revelations are, from Zuckerberg’s venality to the company’s general indifference to the harms it creates. It’s not likely many of the claims here will make many people reconsider their relationship with the company and its products, either.

— Dan Cooper

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The biggest tech stories you missed

Honda and Acura EVs will be able to use the Tesla Supercharger network in June
As if you needed another reason to hang around a Tesla location.

Anthropic’s Claude chatbot can now search the web too
It won’t be long before they’ll have an AI that’ll even watch YouTube for you.

ChatGPT reportedly accused innocent man of murdering his children
Another of the great benefits of AI.

Fujifilm’s GFX100RF is a 102MP medium format compact camera

One hundred and two megapixels, in this economy?

Fujifilm

Fujifilm has been on a hot streak for a while, to the point it’s looking to flex its muscles with some absolutely wild specs. The company announced the GFX100RF medium format compact camera with, wait for it, a 102 megapixel sensor. It’s machined from a single block of aluminum, aping the aesthetic found on the company’s other X-series cameras. I can’t wait to see the hipsters who wanted something fancier than an X100 VI wasting this camera’s talents in the next few years.

Continue Reading.

Google unveils the new Pixel 9a for $499

Meet the new midrange smartphone king

Sam Rutherford for Engadget

Google has announced the already widely leaked Pixel 9a, its latest budget addition to the Pixel line. It ditches the Pixel’s famous camera bar in favor of a regular raised lens housing, but it has the same Tensor G4 chip as its pricier siblings. That will enable owners to harness some of the same AI smarts Google’s been selling on the flagship Pixels at a far lower price. Check out Sam Rutherford’s hands-on to see if your wallet might be tempted to crack open.

Continue Reading.

Tesla recalls more than 46,000 Cybertrucks over a faulty exterior panel

Whoops.

Tesla is recalling every Cybertruck on the road (more than 46,000), after it found exterior panels could fall off. Filings with the NHTSA say an exterior trim panel could detach from the automobile, potentially causing an accident. Oh dear.

Continue Reading.

This article originally appeared on Engadget at https://www.engadget.com/general/the-morning-after-a-closer-look-at-facebooks-leadership-114522686.html?src=rss 

A ‘Split Fiction’ movie is reportedly in the works

There’s a bidding war for the film adaptation of Split Fiction, according to the information Variety has gathered at this year’s Game Developers Conference. Split Fiction is a split-screen multiplayer co-op game by Swedish indie developer Hazelight, which was also the studio behind the genre-defining game It Takes Two. The publication says Story Kitchen, the same media company that pieced together the It Takes Two film adaptation package until it was picked up by Amazon, is already looking for actors, writers and a director for the project. 

Variety didn’t mention specific companies bidding for the game’s rights, but offers are reportedly coming in from “multiple top Hollywood studios.” Split Fiction was specifically designed for split-screen gaming through local or online play. You can control either one of the two main characters, Zoe and Mio, as they navigate multiple worlds and overcome various obstacles. The game’s story revolves around the two authors who were invited by a company called Rader Publishing to test a new simulation technology that allows players to experience their own fictional stories as reality. 

Due to an accident, Mio fel into Zoe’s story, which created a glitch that allowed them to travel to and from each other’s science fiction stories featuring dragons, cyberpunk motorcycles and other sci-fi and fantasy elements. The game was released on March 6, 2025 and is currently available on the PlayStation 5, Xbox Series X|S and PC.

This article originally appeared on Engadget at https://www.engadget.com/gaming/a-split-fiction-movie-is-reportedly-in-the-works-121528148.html?src=rss 

Engadget Podcast: Google’s Pixel 9a is ready to take on the iPhone 16e

After a ton of leaks, Google officially announced the $499 Pixel 9a, which has the potential to be the new king of mid-range phones. It has dual cameras and access to Google’s AI features — in many ways, it’s everything the iPhone 16e should have been (especially its price). In this episode, Senior Writer Sam Rutherford joins us to discuss what’s great about the Pixel 9a, as well as its potential downsides compared to the Pixel 9.

Listen below or subscribe on your podcast app of choice. If you’ve got suggestions or topics you’d like covered on the show, be sure to email us or drop a note in the comments! And be sure to check out our other podcast, Engadget News!

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Topics

Google’s announces the Pixel 9a – potentially the new midrange king – 1:15

Fujifilm’s GX100RF: a 102MP medium format camera (nice!) with only one F4 lens (boo!) – 21:31

Karissa Bell’s roundup of the craziest stuff from Facebook whistleblower Sarah Wynn-Williams’ book – 24:14

Donald Trump attempts to fire FTC’s two Democratic commissioners – 29:34

Amazon will send all Alexa recordings to the cloud, no more local processing – 32:52

Chinese EV maker BYD announces chargers that give 249 miles of range in 5 minutes – 39:10

Pebble founder introduces two new e-paper smartwatches – 46:47

Listener Mail: Trying to choose an OLED TV – 57:35

Around Engadget – 1:03:49

Working on – 1:09:56

Pop culture picks – 1:10:28

Credits 

Hosts: Devindra Hardawar and Cherlynn Low
Guest: Sam Rutherford
Producer: Ben Ellman
Music: Dale North and Terrence O’Brien

This article originally appeared on Engadget at https://www.engadget.com/computing/engadget-podcast-googles-pixel-9a-is-ready-to-take-on-the-iphone-16e-113020014.html?src=rss 

Severance season two review: Innie rights and humanity made for a stronger show

If you think about it, Severance‘s “innies” — the people trapped in an endless cycle of office work — should genuinely hate their “outies” — their other halves who exist everywhere else. While outies are free to live a seemingly carefree existence, unburdened by the labor, boredom and indignities of office life, innies have no escape. Every time they enter the elevator at the end of their shifts, which triggers the switch to their outie persona, innies just blink and return to the sterile hallways of nefarious biotechnology firm Lumon Industries. There are no weekends or holidays, there isn’t even time to sleep. 

Spoilers ahead for Severance season 2. No spoilers for the finale, “Cold Harbor.”

Severance‘s first season arrived as we were all reeling from the initial onslaught of the COVID pandemic and many of us were dealing with our own work-life balance issues. It introduced the show’s core concept — that Lumon pioneered the ability to completely separate work and life experiences — and it made the terms “innie” and “outie” a new cultural shorthand. But the debut season also leaned heavily on the outie perspective, sometimes to a fault. In its second season, Severance became even stronger by focusing more on the innie perspective. Do they deserve whole lives, or just the labor their outies don’t want to deal with? Are they allowed to fall in love? Are they even real people?

Apple

These are all concepts the show previously touched on, but the innie experience became all the more tragic as season two went on. We watched as Adam Scott’s Mark S. wrestled with the dueling desires to rescue Lumon’s wellness counselor, Ms. Casey, who was revealed to be his outie’s supposedly dead wife, and also nurture a budding romance with fellow innie Hellie R. (Britt Lower). John Turturro’s Irving B. spent the entire season nursing a broken heart, after the innie he fell in love with disappeared. And Zach Cherry’s Dylan G. ended up falling in love with his outie’s wife (Merritt Wever), who saw the best aspects of her floundering husband through his innie.

Innies owe their lives to their outies, but lead a tortured existence that basically just makes everything easier for outies. Season two made it clear that the process of severance, which involves a brain injection that splits the innie and outie personas, essentially creates an adult child who only exists to work. Innies have no understanding of science, history or the greater world beyond what Lumon tells them. And naturally, the company’s messaging to innies is purely focused on efficiency, output and the cult-like adoration of its founder, Kier Eagan. (It’s as if Apple based its entire internal culture on worshipping Steve Jobs as a god, complete with archaic rituals and holy texts.)

Apple

While we spent less time with outies in this season, the show still had a sharper take on their side of the severed experience. There’s a funny nod to the “return to office” phenomenon, where Tramell Tillman’s Milchick practically had to beg the outies to come back to Lumon, following their innie revolt at the end of season one. In our world, RTO is mostly a phenomenon where executives are eager to witness their employees toiling away, rather than allowing them to potentially slack off while working at home.

We also get a sense of what outies lose by giving up their work life to their innies. When Dylan G.’s outie, Dylan George, is turned down for a basic job outside of Lumon, he learns he can’t count his innie’s work time, since he didn’t actually experience it. (In some ways it feels reminiscent of what we could lose by outsourcing work to AI tools.) Severance isn’t just a trap for the innies stuck in Lumon’s offices, their outies will also have a tough time landing a job anywhere else. The only choice is to stay loyal to Lumon, and its dear founder Kier, until you retire. Or die.

According to Dan Erickson, the creator and showrunner of Severance, this season was partially inspired by the recent Hollywood writer’s strike. “We were all talking to our guilds and having conversations about workers rights and what we owe our employers and what we should reasonably expect back in return… And how much of ourselves and our lives and our energy we should be willing to give up for the sake of a job,” he said in an interview on episode 252 of the Engadget Podcast.

Apple

While much of the second season was written before the strike, “consciously or unconsciously, I think that the tone of that, of those conversations made their way into the story,” Erickson said. “And certainly I think that they’ll be on people’s minds as they’re watching the show. Because at the end of the day… it is a show about the rights of workers and what they deserve as human beings.”

As I watched this season of Severance, and processed the events of its explosive finale, I couldn’t help but be reminded of Kazuo Ishiguro’s heartbreaking novel Never Let Me Go. It’s set in a strict boarding school where students are raised to serve one specific purpose, and their own lives are devalued in the process. But they still love, learn and dream. They have hopes and desires. Every innie should be so lucky.

This article originally appeared on Engadget at https://www.engadget.com/entertainment/tv-movies/severance-season-two-review-innie-rights-and-humanity-made-for-a-stronger-show-100003400.html?src=rss 

‘FBC: Firebreak’ first look: Left 4 Dead but with Remedy’s silly, surreal touch

There’s something really exciting about FBC: Firebreak, Remedy’s take on cooperative, online first-person shooters. I’ve been trying to pinpoint a specific wow factor since attending the game’s developer-led demonstration last week, but I’ve concluded it’s a combination of multiple cool features blended perfectly together. FBC: Firebreak is set in the sterile headquarters of the Federal Bureau of Control and it features Remedy’s trademark dark surrealism, but it’s also infused with a healthy dose of silliness and mechanical depth. The result feels like a modern Left 4 Dead in the best possible way, just with Hiss instead of zombies and three players instead of four.

Left 3 Dead, anyone?

FBC: Firebreak takes place six years after the end of Control. The Oldest House, which used to be the seat of power for the FBC, has been sealed with the Hiss inside, and it’s now time to eradicate the invasion and lift the lockdown. The agency is sending in the Firebreak team, a unit composed of government volunteers with no extra combat training and little hope of making it out alive. As a member of Firebreak, you’re handed some special equipment, patted on the back and locked inside the headquarters with the Hiss and every unfortunate employee it’s infested. Good luck.

The game is broken down by Jobs, which are essentially custom-built missions in specific regions of The Oldest House. All Jobs have three zones, but otherwise each one has a unique objective, crisis, and environment. After selecting a Job, you get to customize your run by setting the Threat Level and Clearance Level — Threat Level determines combat difficulty and the number of rewards up for grabs, while Clearance Level sets the number of zones you have to clear and the type of rewards.

“I will say we do have more than three clearance levels, and you get into some pretty interesting stuff later, such as corrupted items that appear during the job,” game director Mike Kayatta said.

Remedy Entertainment

Before the match begins, each player gets to select one of three Crisis Kits, loadouts designed with specific playstyles in mind. Crisis Kits come with a tool and an item each. The Jump Kit is based around electricity and it has the Electro-Kinectic Charge Impactor, a portable jackhammer kind of device with a conductive metal plate on the end, capable of slamming into enemies or propelling yourself into the air. It also has the BOOMbox, which plays music to attract enemies before exploding. The Fix Kit gives you a big wrench that’s able to repair machinery and stagger Hiss, and it also includes a turret that you have to smack with the wrench to assemble. The Splash Kit is for all the water signs out there — it features the Crank-Operated Fluidic Injector, an industrial water cannon that can extinguish fires and soak enemies so they’re primed for extra damage, plus a Humidifier, which sprays healing water in a wide area.

“A good way to look at all of this is that you’re going to kind of combine the threat level and the clearance level and the type of job you want to play to sort of create your own load, your own experience, exactly the session that you’re looking for with whatever group you’re playing with that night,” Kayatta said.

Members of the Firebreak squad have their own Research Perks, or upgrade slots. You purchase Perks with currency earned during Jobs, and stacking upgrades of the same type strengthens their effect. Equipping three Perks of the same type lends that ability to nearby teammates as well.

Remedy Entertainment

“For example, one perk might give you the feature that each missed bullet has a chance to return to your clip, or the ability to extinguish yourself by jumping up and down, which is how that of course works,” community manager Julius Fondem said. “If you equip just one perk, you get its effect. Simple, straightforward. If you equip two of the same type, you get a stronger version of that perk. And if you equip three of the same perk type, you can actually share its effect with your nearby crewmates. As you increase your kit proficiency, you’ll increase the slots you have to play with, giving you the opportunity to play with a lot of different builds and strategies.”

Killing Hiss is all fine and dandy, but collecting currency is a major goal of each run in FBC: Firebreak, too. Currency is used to purchase new gear and cosmetics as well as Perks. Regardless of whether you actually escape a Job alive, you’re rewarded with XP and proficiencies for the gear you used. You can only earn currency by finding it in the environment and successfully escaping with it (and your life).

“Ultimately, Firebreak is about efficiency,” Fondem said. “You can’t fail objectives, but the longer you spend doing them, the more and more Hiss will show up to stop you, increasing the chance that your crew dies on the job. That means the longer you spend exploring for currency, the more risk you’re inviting and the harder it will eventually become to make it back to headquarters in one piece.”

Speaking of currency — Remedy promises it won’t charge for critical content post-launch.

“We want to keep all of our players united, which means that all playable post-launch content, such as Jobs, will be free for everyone who has the game,” Fondem said. “We’ll support the game by offering paid cosmetic content as well.”

The Job that Remedy showed off in the media briefing (and featured in today’s Future Games Show Spring Showcase) was Paper Chase, a mission filled with flying yellow sticky notes, sticky-note monsters, and one hulking sticky-note titan as the final boss. It’s set in a classic FBC office space, concrete walls and blood-orange carpet, and players have to eradicate the rogue, multiplying sticky notes as well as the rushing Hiss. Little squares of paper swirl through the air and cling to the player’s face, covering the screen at times, amid explosions, flickering lights and showers of bullets. At one point, a player places a piggy bank in their melee weapon and smashes it on the Hiss, screaming, “Stand back, piggy’s coming out!” It activates an AOE wind effect on nearby enemies. There are environmental factors to mess with and a range of weapons to deploy — shotguns, machine guns, rifles, pistols, water cannons, turrets, grenades, electrified impact devices, boomboxes — and overall, Paper Chase seems like a damn good time.

Remedy Entertainment

It’s taken plenty of iteration to get to this point. And as it turns out, FBC: Firebreak isn’t limited to three players just to differentiate itself from a slightly similar 16-year-old game with a four in its title.

“The reason why we did three-player squads, really, it was like an organic quirk of the development,” Kayatta said. “We actually started testing with four players. I think it just didn’t feel quite as good. It was a little harder to understand where people were. That’s something that’s, like, not required but definitely helpful in this game. And it just felt like, with all of the chaos and all of the fun systems going off, three just felt right over time. So that’s it. And yeah, you can play solo or duo.”

FBC: Firebreak is due out this summer, and it’s heading to PlayStation 5, Xbox Series X/S and PC via Steam and Epic Games Store, plus it’ll be available day-one on Game Pass and PlayStation Plus. It’ll support cross-play. Remedy is aiming for a “lower-minimum” PC spec requirement and optimizing the game for Steam Deck. Still, FBC: Firebreak will ship with full ray-tracing support, DLSS 4 with Multi Frame Generation and NVIDIA Reflex capabilities.

This article originally appeared on Engadget at https://www.engadget.com/gaming/fbc-firebreak-first-look-left-4-dead-but-with-remedys-silly-surreal-touch-214657219.html?src=rss 

Bloober Team launches horror publishing label with debut game I Hate This Place

Bloober Team is taking its horror game cred into a new direction with the launch of publisher Broken Mirror Games. This “co-development label” is collaborating with Rock Square Thunder, an indie outfit founded by ex-Bloober devs, for a new open-world survival horror game called I Hate This Place. It’s scheduled for release in the final quarter of 2025 on PC, PlayStation, Xbox Series S/X and Nintendo Switch.

The source material for this adaptation is a comic book series of the same title from Skybound Entertainment by writer Kyle Starks and artist Artyom Topilin. Fittingly, the game has kept a hand-drawn style for its tale of protagonist Elena, who has accidentally unleashed a nightmarish force and now has to fight for her life by using her wits and finding shelter before the sun sets.

While its exact focus in the genre has shifted, Bloober Team has created several well-received horror games such as Layers of Fear, last year’s Silent Hill 2 remake and the upcoming Cronos: The New Dawn.

This article originally appeared on Engadget at https://www.engadget.com/gaming/bloober-team-launches-horror-publishing-label-with-debut-game-i-hate-this-place-220032691.html?src=rss 

Game companies will standardize accessibility labels on storefronts and product pages

Console makers and game developers like Microsoft, Nintendo and Electronic Arts have created a new initiative, managed by the Entertainment Software Association (ESA), that aims to make it easier to know what accessibility features games have. 

The new Accessible Games Initiative has defined a set of 24 accessibility tags that will appear in participating game storefronts and product pages so players can know what features a game has before they buy it. The tags have easy to understand definitions and cover a range of accessibility features games offer, like subtitles, input remapping for controls, text-to-speech and speech-to-text in chat and narrated menus. All of the tags and definitions are available to view on the Accessible Games Initiative’s website. The ESA also says it will provide developers with criteria for the tags so they can develop accessibility features with them in mind.

The new tags are designed to co-exist with existing accessibility information on product pages, but some companies may choose to focus exclusively on the new “cross-industry” standard. For example, Microsoft plans to “replace existing Xbox Game Accessibility Feature tags with their equivalent Accessible Games Initiative tags” to avoid duplication, while keeping its own tags that aren’t in the initiative’s list.

The idea for the Accessible Games Initiative “was first developed by Electronic Arts, Google, Microsoft, Nintendo of America, Sony Interactive Entertainment and Ubisoft,” according to the ESA, and new companies have joined in time for launch, like “Amazon Games, Riot Games, Square Enix and Warner Bros. Games.” 

Offering some kind of standardized way to know what accessibility features a game has is desperately needed. While developers have gotten better at offering accessibility features in their games by default, players interested in a specific feature have mostly had to rely on third-party resources like Can I Play That? to figure out how well they’ve been interpreted and implemented. These tags should start to fix that. 

The only open question is when they’ll be adopted. The ESA told The Verge that “the timeline for implementation of the tags is company-dependent,” meaning there could be a wait ahead for players hoping to take advantage of the Accessible Games Initiative’s work.

This article originally appeared on Engadget at https://www.engadget.com/gaming/game-companies-will-standardize-accessibility-labels-on-storefronts-and-product-pages-211335539.html?src=rss 

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