You know, I was simply going to ignore the bizarre Blue Origin stunt flight from earlier this week. But then it flopped beyond my wildest imagination, and so here we all are.Doubtless you know the contours already: Jeff Bezos’ fiancee Lauren Sánchez, pop star Katy Perry, and four other women did a big space tourism trip in the name of performative femiladyism, wearing “space suits” cut so as to require a pair of Spanx underneath. “We’re going to have lash extensions flying in the capsule,” Sánchez said. “We are going to put the ‘ass’ in astronaut,” Perry said.This promised to be a marketing bonanza for a nation addled by spectacle. What has happened instead has been a shocking amount of backlash. TikToks mocking Katy Perry’s feigned enthusiasm for “astronomy and astrology.” Suggestions the entire trip was faked. Video footage of what appears to be Bezos literally falling on his face in Texas. Did Bezos even really open the capsule door? Proclamations that the flight “showcased the utter defeat of American feminism.” Social media debates about whether the women aboard were passengers or crew.Look, the ass has always been in astronautI have been sitting here for a couple of hours now, trying to figure out how this happened, while my fearless leader has been sending me TikTok after TikTok about how dumb the whole thing was. Look, the ass has always been in astronaut — NASA mandates that those aboard the ISS do not miss leg day. Even under normal circumstances, Perry, Sánchez, and the other women would be guilty of delivering stale rhetoric about how doing space tourism was reclaiming science for the girlies. But here, it was all happening against the insistent drumbeats of budget cuts at actual NASA, while the other rocket entrepreneur, Elon Musk, rearranged the agency to benefit himself. The power of private spaceflight outfits like Blue Origin is a policy failure, and it’s an increasingly dangerous one. Once upon a time, the US didn’t need to rely on the unstable rich to get astronauts to space; NASA built its own rockets. But after a series of Republican budget cuts, some libertarian dim bulbs came up with the idea for the Commercial Crew Program, which awarded contracts in 2014. The rhetoric was that it would be lower-cost for someone other than NASA to build NASA’s rockets; in any event, after the retirement of the Space Shuttle in 2011, NASA had no means of sending astronauts on its own.The upside of the program was that it was fixed-price; the downside was that it rendered NASA hopelessly dependent on its contractors: SpaceX and Boeing.I think, at this point, we can all agree the Commercial Crew Program was an important failure point for American democracyHow is that going? Well, Boeing stranded some astronauts — including an actual female astronaut — in space when its Starliner malfunctioned; they had to be rescued from the ISS by SpaceX. SpaceX has been more technically successful, but that means when Musk misbehaved — whether it was by smoking weed, making unapproved launches, polluting, or whatever — there was nothing the government could really do to him. They needed his rockets too badly. I think, at this point, we can all agree the Commercial Crew Program was an important failure point for American democracy, propping up Musk’s SpaceX for so long that Musk could steal Americans’ most sensitive data, wreak havoc on Social Security, and use X, formerly known as Twitter, to recruit an unknown number of baby mamas.Blue Origin, meanwhile, has barely stayed in the running. The company has been around for 20 years now, was awarded just $25.6 million by Commercial Crew in exploratory grants, and its first heavy-lift launch of the New Glenn, the kind of rocket that sends up satellites and equipment, happened in January of this year. None of its known planned launches are meant for people at all. And while the launch cadence is ambitious for a new rocket, the company is still lagging behind SpaceX — while primarily doing little jaunts to indulge Bezos’ and Sánchez’s vanity.So against this backdrop, Blue Origin’s space tourism seems especially silly, particularly with a rumored price tag of $28 million per seat. (Dennis Tito paid $20 million to spend several days aboard the ISS in 2001, by the way, so Blue Origin’s trip seems much less cool than the one from more than 20 years ago.) The New Shepard flew up to just barely what we call space, remaining strictly suborbital. It’s probably pretty cool to see Earth from beyond the Kármán Line for 11 minutes — I would take that ride if someone offered it to me — but it’s not, you know, groundbreaking. It’s not even groundbreaking for Blue Origin; Bezos was on the first human mission, along with some other dudes.What a breakthrough for feminism — am I right, girls?You can see the marketing logic of saving women for later: first crew (just coincidentally all men, I’m sure), then first all-women crew. Great for marketing. Two big firsts. But the you-go-girl rhetoric feels odd next to the government’s antiwoman stance; actual astronauts and other women in leadership are literally being erased from NASA’s history. Hey, you know who was at the inauguration of the guy who’s responsible for that? Oh yeah, Blue Origin honcho Jeff Bezos. I mean, Bezos dictated a $1 million payoff to the guy whose goons took down pictures of women in science. Amazon is also paying $40 million for the privilege of a documentary about Melania Trump, helmed by Brett Ratner, who’s been accused of sexual misconduct and rape.And on top of that, the reason Sánchez was aboard the Blue Origin flight is that she’s literally fucking the boss. What a breakthrough for feminism — am I right, girls?Broadcaster Gayle King, who joined Sánchez and Perry on the New Shepard, has been touchy about the backlash. “My question is, have y’all been to space? Go to space or go to Blue Origin and see what they do and then come back and say, ‘This is a terrible thing,’” she said. Baby, I’d love to, but I make a normal amount of money, so I can’t do space tourism, and NASA’s entire astronaut thing is in serious jeopardy. King’s “let-them-eat-cake” moment is particularly jarring when you consider that the economy is on the rocks thanks to idiotic tariffs, inflation is on the rise, and de-dollarization is the order of the day. But, hey, who’s surprised by a tone-deaf rich lady?It isn’t just King feeling touchy. Perry is now beefing with Wendy’s — that’s right, the fast-food joint — over a couple of mean tweets. Perry’s camp is attempting to use People to demand an apology.The thing is, King, Perry, and the rest aren’t the real villains here. They got taken for a ride. The problem is Bezos, who’s play-acting at doing something worthwhile to — what? Impress his girlfriend? Pretend he’s a cowboy? Pose as being somehow better than Musk? It seems like if Bezos wanted to make a difference, he could be using his vast influence to fight the destruction of NASA. Instead, he’s playing with his toys.Whatever is going on here, it’s not working. Even a nation that loves nothing better than falling for spectacle isn’t biting on this one. Maybe it’s just that Perry is in her flop era, and she poisoned the well; maybe it’s that Sánchez, entertaining as she is, has the worst media instincts I’ve ever seen. Or maybe it’s that some of us have gotten really tired of performative feminism even as abortion rights have been vaporized and access to birth control is increasingly threatened. Maybe it’s just that no one’s rooting for Bezos or his companies. One way or another, the all-women space tourists have turned into the butt of a cosmic joke.See More:

LOTF - 2025 Edition Somehow, Lords of the Fallen continues to get major patches - and its biggest one yet just gave everyone an unbeatable reason to play The developers of Lords of the Fallen just cannot stop working on the 2023 Souls-like action RPG, and the game's most recent patch has a very compelling reason for anyone to jump in. Image credit: CI Games / Hexworks News by Sherif Saed Contributing Editor Published on April 18, 2025 Lords of the Fallen faced a bit of a middling reception when it came out in October, 2023. Myself and many others had a lot to criticise about the launch version, and though some major design issues were never truly fixed, developer Hexworks stuck with it far longer than anyone could’ve predicted. What many thought would surely be its final update, version 1.7, came out last December and delivered significant improvements to many aspects of the game. Hexworks seemingly wasn’t done, because the game just received yet another major one. To see this content please enable targeting cookies. The latest Lords of the Fallen patch is so significant, in fact, that the developer is dubbing it the 2.0 version of the Souls-like action RPG. This one doesn’t just adjust core mechanics and overhauls so much of the game, it also introduces a fantastic new features for newcomers that I don’t think I have seen before in a game of this kind. CI Games is following in the footsteps of Split Fiction and It Takes Two developer Hazelight Studios by offering a Friend’s Pass, which does exactly what you think it would. The pass allows any player to invite a friend - on any platform - who doesn’t own the game, to play in online co-op. As a result, anyone can now download the game for free, create a character, and play the full tutorial - which incidentally has also been redone in this patch. Once that’s done, you’re free to be invited to sessions by anyone who owns the full game. Progression is a little more tricky to explain, but the developer has made several changes with 2.0 to make that experience viable. Character progress and loot is saved between sessions, but only the host will retain world progression. Within the same playthrough, both players will save mainline story progress individually, defeated bosses, and lit Beacons (Bonfires). Vigor and loot drop for each one individually, and both players can revive each other.. Watch on YouTube That’s not all, 2.0 is also making several major tweaks to gameplay. There’s now a dedicated jump button! Core combat has been overhauled, too, with refined lock-on, more precise weapon handling, smoother movement with faster evasions, and entirely new sounds for all combat moves. There’s even a new mechanic that lets you use the Umbral Lamp to help guide you to where you should go next. Elsewhere in this massive updates, you’ll also find a cleaner UI, and some upgrades to the general interface. There’s a host of quality of life updates here, too, such as faster (and automated) Vigor collection and a few other changes to the moment-to-moment flow. Just look at it! | Image credit: Hexworks, CI Games To celebrate this monumentous patch, Lords of the Fallen is currently on sale across all platforms for up to 72% off. Sale periods vary by platform, with some ending as early as April 23 while others going all the way to May 1. If nothing else, you should definitely download the Friend’s Pass on Steam or your preferred platform, play the tutorial and see how it feels. The patch isn’t live everywhere at the moment, but you should expect it to arrive no later than Monday, April 21.

But accessories "experience price adjustments" in the US.Switch 2 will remain at the previously announced price of $449.99 USD ($629.99 CAD) for the base hardware and $499.99 ($699.99 CAD) for the Mario Kart World bundle in North America, Nintendo has announced.Prices for Mario Kart and Donkey Kong Bananza will also remain unchanged at $79.99 USD ($109.99 CAD) and $69.99 USD ($99.99 CAD), respectively. Retailer pre-orders in the US and Canada will begin on 24th April.Read the full article on nintendolife.com

Nintendo announced on Friday that it will open Switch 2 pre-orders in the U.S. on April 24, following a delay due to the Trump administration’s hefty tariffs. Fans feared the long-awaited console would spike in price due to Trump’s export rules on international goods, but Nintendo confirmed the Switch 2 will still cost $449.99 and come out on June 5, as originally announced. Switch 2 accessories, however, will increase in price due to “changes in market conditions,” Nintendo said in a press release. The company added that other products could also face hikes down the road. Most of the Switch 2 accessories seem to be getting a $5 price bump. The Nintendo Switch 2 Pro Controller, which was initially set to cost $79.99, will now cost $84.99. Joy-Cons will cost $94.99, up from $89.99, and the new Switch 2 camera attachment will cost $54.99, up from $49.99. As far as games go, Nintendo isn’t changing the prices of the digital and physical versions of two launch-day heavy-hitters, Mario Kart World ($79.99) and Donkey Kong Bananza ($69.99). “We apologize for the retail pre-order delay, and hope this reduces some of the uncertainty our customers may be experiencing,” Nintendo wrote in the release. Though the changing prices of accessories may concern some customers, they won’t find reprieve from other gaming companies. Earlier this week, Sony announced that it would bump PlayStation 5 prices in Europe, Australia, and New Zealand due to shifts in the global economy. Fans expect that similar price adjustments will hit the U.S. eventually, too. Certain electronics, like smartphones and laptops, are exempted from Trump’s tariffs, but not video game consoles.

Movie & Games Trailers Light & Magic – Season 2 By Vincent Frei - 18/04/2025 YES! Light & Magic is back! Season 2 dives into ILM’s most daring era — the digital revolution. From groundbreaking CG characters to the invention of digital water, witness how the magic was reinvented. Featuring VFX legends like John Knoll and Rob Coleman, and packed with stunning archive footage and directed by legendary filmmaker Joe Johnston. Streaming now on Disney+. Director: Joe Johnston Release Date: April 18, 2025 (Disney+) © Vincent Frei – The Art of VFX – 2025

Jameos del Agua in Lanzarote | © Julian Weyer, Flickr User In the northeastern reaches of Lanzarote, beneath a rugged crust of basaltic rock, lies one of the most singular architectural experiments of the 20th century. Jameos del Agua, designed by the multidisciplinary Spanish artist César Manrique, redefines the boundary between architecture and geology. Carved into the remnants of a volcanic eruption, this subterranean complex is not a building in the conventional sense but rather a spatial strategy—a choreography of light, silence, and stone. Through restrained intervention, Manrique proposed a radical gesture: to do less, and in doing so, to reveal more. Jameos del Agua Technical Information Architects1-5: César Manrique Location: Lanzarote, Canary Islands, Spain Area: 5,000 m2 | 53,820 Sq. Ft. Construction Phases: 1966 – 1977 Photographs: © Julian Weyer, Flickr User For me, the most important aspect of art is nature. In Jameos del Agua, I did nothing more than underline the beauty that was already there. – César Manrique 6 Jameos del Agua Photographs © Julian Weyer, Flickr User © Julian Weyer, Flickr User © Julian Weyer, Flickr User © Julian Weyer, Flickr User © Julian Weyer, Flickr User © Julian Weyer, Flickr User © Julian Weyer, Flickr User © Julian Weyer, Flickr User © Julian Weyer, Flickr User © Julian Weyer, Flickr User © Julian Weyer, Flickr User © Julian Weyer, Flickr User © Julian Weyer, Flickr User © Julian Weyer, Flickr User © Julian Weyer, Flickr User Lanzarote’s Geology and Manrique’s Vision The genesis of Jameos del Agua lies in geology. The site forms part of the extensive volcanic tube system generated by the eruption of La Corona Volcano nearly 4,000 years ago. These tubes, punctuated by collapsed sections known as jameos, offered a pre-existing, raw spatiality. The architecture emerges not by constructing anew but by accentuating what is already present—an inversion of typical architectural processes. César Manrique, born in Arrecife in 1919, returned to Lanzarote in the 1960s after years of artistic engagement in Madrid and New York. Confronted with the threat of unchecked tourism development, Manrique envisioned an alternative: a model in which art and ecology could co-exist. Jameos del Agua, inaugurated in phases beginning in 1966, became the prototype for his environmental ideology—a philosophy rooted in restraint, respect, and resonance with the land. As both artist and architect, Manrique eschewed authorial dominance, opting instead for a spatial modesty that foregrounds the natural environment. Jameos del Agua Spatial Strategy The experience of Jameos del Agua unfolds as a sequence of calibrated transitions. From the surface, visitors descend into darkness, enveloped by the volcanic tube’s porous walls and irregular surfaces. The first chamber, partially lit by a collapsed roof, contains an underground lake inhabited by the endemic blind albino crab (Munidopsis polymorpha). These species render the space both biologically unique and symbolically fragile. From there, the route continues through a tropical garden between volcanic walls, culminating in a visually surreal pool of turquoise water. The experience is not linear but episodic—each spatial fragment offers a distinct atmospheric condition. Light, temperature, and sound shift subtly between chambers, guiding the visitor without the need for signage or explicit direction. Materially, Manrique intervenes with an ethos of minimalism. Architectural elements—stairs, benches, railings—are embedded within the lava or whitewashed with lime. Structural additions are few and discreet. Instead of dominating the cave’s geometry, they echo it. The result is a hybrid landscape that reads as natural, intentional, raw, and curated. The architectural program resists categorization. Jameos del Agua is a cultural venue, ecological reserve, and experiential landscape. It houses a subterranean auditorium with exceptional acoustics, a restaurant built into the rock face, and an open-air space for reflection and repose. Yet, the architectural language remains consistent: no gesture is excessive, no surface ornamental. The architecture performs by withdrawing. Atmosphere, Light, and Phenomenology If Jameos del Agua has a primary material, it is not concrete or stone, but light. The project operates phenomenally, manipulating illumination to define space, accentuate textures, and heighten perception. The journey from the cave’s darkness to the garden’s brightness and finally to the searing white of the pool is not just optical but symbolic. It narrates a movement from the underworld to the surface—an architectural ascension from shadow to clarity. Manrique’s orchestration of light is neither theatrical nor didactic. It is atmospheric. Subtle lighting within the cave avoids spectacle, instead emphasizing depth and intimacy. Reflections on water multiply space and distort form. Conversely, the outdoor pool—surrounded by white walls and lush vegetation—amplifies brightness to a point of abstraction, where the volcanic context temporarily dissolves. These sensory strategies situate Jameos del Agua within a broader tradition of phenomenological architecture. Much like Zumthor’s Therme Vals or Ando’s Church of the Light, Manrique’s work is less concerned with form than with staging perception. His interventions are not compositions but conditions—atmospheres that unfold over time. Jameos del Agua Plans Site Plan | © César Manrique Axonometric View Jameos del Agua Image Gallery About César Manrique Credits and Additional Notes Collaborators: Jesús Soto (lighting design), Luis Iñiguez (technical coordination) Key Features: Volcanic cave system, underground lake, open-air pool, concert hall, endemic fauna Client: Cabildo de Lanzarote Geological Feature: Part of the Cueva de los Verdes volcanic tube, created by the eruption of the La Corona Volcano (~3,000–4,000 years ago) Current Operator: Centers of Art, Culture, and Tourism of Lanzarote (CACT) Fundación César Manrique, Lanzarote by César Manrique César Manrique and Lanzarote: Essential Guide by Alejandro Scarpa

Architect: RAMSALocation: Seoul Completion Date: 2024Brought to you by: A new facility for retail giant Shinsegae marks the first completed project in South Korea for Robert A. M. Stern Architects (RAMSA). Located in the heart of Seoul, the new building serves as a training center for the corporations employees and also features office space, ground floor retail, and a large auditorium. The structure’s exterior is wrapped in complex brick bond patterns and complementary limestone details—materials that appeased the client’s fondness for masonry. Named Shinsegae Namsan for its unobstructed views of Namsan Mountain—a major landmark in Seoul—the building is perched atop a hilly site along the Jangchungdan-ro, a major urban thoroughfare. From the street-level, the site rises almost 60 feet before abruptly curving to the south. For this reason, Shinsegae Namsan possesses a unique L-shaped plan. Perched on a hillside, Shinsegae Namsan towers over neighboring buildings. (Namsun Lee) “The geometry of the site is very irregular,” said Daniel Lobitz, partner at RAMSA. “And in Korea, exposures are extremely important considerations. We were managing a really prime view to the Southwest of the Namsan Mountain, and so there’s a major orientation of some of the spaces in that direction. We devised this composition of interlocking curvilinear forms that are oriented in different directions,” he added. Shinsegae Namsan’s ground floor was envisioned as a place for social gathering and cultural events. Upon entering, visitors pass through a half-circular lobby atrium and pre-function space before entering a multi-purpose auditorium. Designed for flexible programming, the rake of the venue’s seating can be adjusted to accommodate lectures, concerts, weddings, and more. Office and conference space was placed on the floors above, which benefit from views of the surrounding city and a network of rooftop gardens carved into the building mass. The rake of the venue’s seating can be adjusted to accommodate different types of events. (Namsun Lee) Shinsegae Group was initially drawn to RAMSA’s luxury residential work in New York City, particularly the firm’s use of masonry. After winning a competition for the commission, RAMSA designed studies of the building using both brick and limestone exteriors. Ultimately, the client settled on a primarily brick envelope with subtle limestone accents. Though many different bond patterns occur across the facade, the building is dominated by an arrangement featuring recessed bricks that add shadow and depth to the exterior. “We studied a lot of traditional bond types, and took inspiration from the Flemish bond, which is just a standard brick with the header next to it,” shared Gemma Kim, partner at RAMSA. “But we doubled the pattern and recessed the headers to increase the scale and make the pattern legible.” This pattern is also expressed as a screen around Shinsegae Namsan’s windows, which are set in 18 inches from the facade. RAMSA carefully studied the depth of the recessed brick header to create the appropriate amount of shadow. (Namsun Lee) On the roof, RAMSA designed a porous brick screen to conceal the building’s mechanical systems. Required to keep the screen more than 50 percent open, the bricks are structurally supported by stainless steel rods that are threaded through each module. Another unique pattern occurs along the fourth floor. To fit the curvature of the floorplate, which was more extreme at the lower levels, a fluted pattern of soldier course modules was implemented. Though a hand-molded pink and gray brick from the United States was ultimately specified for Shinsegae Namsan, RAMSA considered a truly global list of brick suppliers, working closely with the client to choose the proper mix and color. A fluted solider course pattern was applied to the fourth floor elevations. (Namsun Lee) In the United States, such enormous expenditure on a largely non-commercial building might seem out of reach for most retailers, who have struggled since the pandemic. However, according to Lobitz, this is not the case in South Korea. “Shinsegae has some of the largest department stores in the world,” he said. “This kind of brick and mortar retail is still very vibrant in Seoul, much more so than in the United States.” What is rare in South Korea is the presence of a robust masonry industry, which has been in decline since the 20th century. This lack of local expertise and support makes RAMSA’s hand-laid brick facade for Shinsegae Namsan all the more impressive. Project Specifications Design Architect: RAMSA Architect of Record: Haeahn Architecture Landscape Architect: RAMSA Interior Design: Pierre-Yves Rochon Structural Engineering: Thornton Tomasetti Lighting Design: Buro Happold AV/Acoustics: Nagata Acoustics Theater Consultant: Fisher Dachs Associates Exterior Envelope Consultant: Simpson Gumpertz & Herger General Contractor: Shinsegae E&C Glazing Contractor: LX Glas, Panoramah! Mason: Hapduck Brick: Belden Tri-State Limestone: SN Sogepierre Glazing: LXGlas, Panoramah!

ChatGPT can 'read' your photos for location clues - even without embedded GPS or EXIF data. Here's why that could be a problem.

Here's what new show has knocked Black Mirror off the #1 spot in Netflix's top 10 list.

Home Microsoft Acknowledges Outlook Classic Bug and Offers a Temporary Fix News Microsoft Acknowledges Outlook Classic Bug and Offers a Temporary Fix 3 min read Published: April 18, 2025 Key Takeaways Microsoft has acknowledged that there’s a bug in Outlook Classic that slows CPUs by 30-50%. The company has offered a temporary workaround by shifting to the Semi-Annual Channel. This issue is six months old, but Microsoft hasn’t offered a permanent fix so far. Microsoft has acknowledged a bug in its Outlook Classic software, which spikes CPU usage by 30%-50%. The problem has persisted since November 2024, with several users complaining of a slow system and an abnormal increase in CPU usage when they type emails. Users have reported that disabling spell-check and graphic acceleration also didn’t help. One user even said that the temperatures of their i9-14900HX CPU reached 95 degrees Celsius when they opened the ‘New Message’ tab. However, Microsoft didn’t offer a long-term fix for the problem. Only a stopgap fix. Users can switch to the Semi-Annual Channel, where this problem hasn’t been observed. The issue appears to be specific to the Current, Monthly Enterprise, or Insider channels. Here’s how you can do it as a home user: Open Command Prompt (ensure you’ve selected the ‘Run as administrator option’) Type the following command: reg add HKLM\Software\Policies\Microsoft\office\16.0\common\officeupdate /v updatebranch /t REG_SZ /d SemiAnnual Once you’ve added the registry key, select File > Office Account > Update Options > Update Now to switch. If you’re running an organization, Microsoft has published a detailed guide on how you can update the channel using Group Policy, Office Deployment Tool (ODT), Configuration Manager, Microsoft Intune Administrative Templates, and the admin center. Meanwhile, the company has said that the Outlook team is investigating the issue. Why No Fix? The problem has been around for more than six months now, and it’s quite odd that a tech behemoth like Microsoft has been sitting on it. Is the problem that complex, or is there something under the sheets? Well, it’s a known fact that Microsoft wants to do away with its Outlook Classic product and have users shift to the new Outlook for Windows. However, the company has gone on record to say that it will offer support for Classic until the end of 2029. Those two commitments don’t align well, do they? Users won’t ‘willingly’ shift to the new Outlook because it lacks some features offered by the Classic version. For instance, there are no multiple mail profiles, shared mailboxes, custom forms, or SharePoint calendar sync with the new Outlook. Microsoft Outlook Classic custom forms Plus, many features, such as offline support, the Notes module, and .PST support, are only partially available. So, why would users want to switch to an inferior product? Could it be possible that this whole ‘CPU-slowing bug’ thing is a strategy to push users to the new product? Well, these are just speculations, and we’ll never reach the bottom of this theory. It may be possible that Microsoft will release a permanent fix soon and put these theories to rest. For now, we’ll have to wait for the next development on this issue. Krishi is a seasoned tech journalist with over four years of experience writing about PC hardware, consumer technology, and artificial intelligence.  Clarity and accessibility are at the core of Krishi’s writing style. He believes technology writing should empower readers—not confuse them—and he’s committed to ensuring his content is always easy to understand without sacrificing accuracy or depth. Over the years, Krishi has contributed to some of the most reputable names in the industry, including Techopedia, TechRadar, and Tom’s Guide.  A man of many talents, Krishi has also proven his mettle as a crypto writer, tackling complex topics with both ease and zeal. His work spans various formats—from in-depth explainers and news coverage to feature pieces and buying guides.  Behind the scenes, Krishi operates from a dual-monitor setup (including a 29-inch LG UltraWide) that’s always buzzing with news feeds, technical documentation, and research notes, as well as the occasional gaming sessions that keep him fresh.  Krishi thrives on staying current, always ready to dive into the latest announcements, industry shifts, and their far-reaching impacts.  When he's not deep into research on the latest PC hardware news, Krishi would love to chat with you about day trading and the financial markets—oh! And cricket, as well. View all articles by Krishi Chowdhary Our editorial process The Tech Report editorial policy is centered on providing helpful, accurate content that offers real value to our readers. We only work with experienced writers who have specific knowledge in the topics they cover, including latest developments in technology, online privacy, cryptocurrencies, software, and more. Our editorial policy ensures that each topic is researched and curated by our in-house editors. We maintain rigorous journalistic standards, and every article is 100% written by real authors. More from News View all View all