It’s a familiar frustration for ridehail users: you open the Uber or Lyft app, enter your destination, and discover that your intended trip costs several times more than expected. The culprit is surge pricing, one of ridehail’s most important and controversial innovations. Customers grumble about higher fares, but Uber and Lyft executives have insisted that surge pricing benefits them by attracting additional drivers, which allows the companies to fulfill more trips and reduce wait times. That justification makes intuitive sense, but it raises an awkward question about robotaxis, which are expanding across the US, from San Jose, California, to Washington, DC. If surge pricing is intended to expand the driver pool, why is it now being used by companies with driverless vehicles?Waymo, which offers robotaxi trips in the Bay Area, Los Angeles, and Phoenix, charges surge pricing during peak times, as did Cruise, its now-defunct competitor. Assuming a robotaxi fleet is already fully deployed, higher fares cannot expand vehicle supply in the way they could for Uber or Lyft. Instead, riders simply need to pay extra, assuming they can afford to, or search for another way to travel.Surge pricing, one of ridehail’s defining features, may need a rethink for an autonomous era. Uber began experimenting with surge pricing in 2012, and customers have been grumbling about it ever since. In 2014, one exasperated Aussie described the practice to Mashable as “price gouging at its worst.” (Price gouging is banned in many US states, but such laws typically kick in only during emergencies or natural disasters.) Screenshots of astronomical fares, like an $800 ride on New Year’s Eve in 2015, frequently went viral. Aware of the pushback, Uber and Lyft adjusted their app designs in recent years to conceal temporary price increases, but surge pricing (sometimes called “dynamic pricing”) has endured.Harry Campbell began driving for Uber a decade ago. He now runs The Rideshare Guy, a publication devoted to ridehail, and The Driverless Digest, focused on the robotaxi industry. “At Uber, their number one [key performance indicator] from basically day one has been reliability,” he told me. “When you open the app, they want you to see cars available within three to five minutes.” Given the vagaries of trip requests and driver availability, keeping wait times within that window is no easy task.Surge pricing may need a rethink for an autonomous era.Defenders of surge pricing argue that it convinces more drivers to work during times of high demand, which avoids lengthy wait times. “Surge pricing doesn’t just make rides more expensive,” James Surowiecki wrote in an article entitled “In Praise of Efficient Price Gouging” for MIT Tech Review in 2014. “It also expands the number of people who are actually able to get a ride.” The additional drivers allow fares to drift back toward normal levels.But this supply-side narrative has always omitted part of the story. “Surge pricing also tempers demand,” Campbell said. “When people see that their ride is more expensive, they may not take it.” By deterring some potential customers, surge pricing makes it easier to serve those who remain. Would-be customers who can’t stomach the higher price are left to figure out a Plan B.Voicing concerns about consumer protection, legislators in states like Massachusetts, New York, and Washington have proposed caps on temporary price hikes (and New Delhi, India, has imposed one). Surge pricing has become a generally accepted aspect of ridehailing.Photo: Mario Tama / Getty ImagesAnd now it’s been adopted by Waymo, a company whose service is, apart from the empty driver’s seat, largely indistinguishable from Uber or Lyft. But while higher fares may convince part-time ridehail drivers to work during periods of high demand, surge pricing can do nothing to expand the tightly limited size of Waymo’s fleets. As of January, for example, the company operated only around 100 vehicles in Los Angeles.“I think Uber and Lyft have a very strong justification for using surge pricing that gets more drivers on the road and gets you home,” Campbell said. “Waymo doesn’t have a good justification. They just say, ‘Hey, we’re charging you more because a lot of people want rides, even though we literally cannot add more vehicles to the fleet.’”Surge pricing can’t attract additional robotaxi vehicles, but it does suppress rider demand, thereby narrowing the gap between requested and available trips during peak times. In an email, Waymo spokesperson Chris Bonelli wrote, “During busier times, temporarily increasing prices may help reduce demand and keep wait times reasonable for a good rider experience.” “Reasonable” is doing a lot of work there; Campbell shared a screenshot of Waymo wait times hitting 24 minutes in Los Angeles, where he lives.“When people see that their ride is more expensive, they may not take it.”Still, surge pricing’s ability to at least temper demand is enough for Brad Templeton, a consultant and veteran of the self-driving industry, to deem it useful. “The societal benefit is that you have scarcity instead of shortages,” he said. “If you really need a trip, you can get it — it’s just really going to cost you.” He drew a comparison with airline tickets that cost more during popular travel times like Thanksgiving weekend.But Templeton acknowledged that surge pricing creates winners and losers, particularly if it cannot expand vehicle supply to soften price hikes. Those who can afford surge pricing will pay it; everyone else will have to find another way to travel — or forgo the trip entirely. “It does allocate more to the wealthy than the poor,” he said. “That may or may not match public goals” around fairness. This, after all, was the underlying critique of ridehail’s pioneering use of surge pricing, which the companies parried by noting how higher prices expand vehicle availability — something that Waymo and its ilk cannot claim.Such tensions could dissipate if the supply of robotaxi vehicles becomes more flexible in the future. There are several ways that might happen.In a March blog post and a recent episode of the Autonocast podcast, mobility investor Reilly Brennan divided the on-demand trip market into “base load,” consisting of trips taken during periods of typical demand, and “peak load,” representing those requested when demand temporarily spikes. One future scenario involves a fixed fleet of full-time robotaxis providing requested trips when demand is normal, while surge pricing during peak times encourages human drivers to grab their keys, thereby expanding the supply of vehicles (and reducing customer wait times). Such an arrangement could appeal to ridehail companies, which benefit from the lower cost of operations during non-peak times, as well as robotaxi companies, which can tap human drivers to add vehicle capacity when they most need it. The recently announced collaboration between Uber and Waymo in Austin suggests such a partnership may be plausible.“It does allocate more to the wealthy than the poor.”Brennan outlined another possibility that seems specific to Tesla: If the company’s promised Cybercabs become a reality (a big if) and its autonomous technology works reliably (ditto), the company could deploy its Cybercab fleet to fulfill base load demands while augmenting it during peak periods with personally-owned and self-driven Teslas, dispatched willingly by their owners when surge pricing hits a threshold of, say, $4 per mile. It’s a nice vision, but caution seems warranted given CEO Elon Musk’s failures to fulfill previous promises around self-driving tech.Templeton believes robotaxi companies could accommodate more trips with limited fleets during peak times by offering customers discounts if they split their trip with strangers. Although ridehail’s experiments with shared rides have fizzled in part due to a lack of privacy, robotaxis might have more success if they use partitions to physically separate passengers from one another.For now, at least, robotaxi companies like Waymo are free to charge whatever they like during peak periods, even though they can’t deploy additional vehicles to meet the higher demand. Templeton thinks that’s appropriate given the nascent stage of the robotaxi industry. “I think we should wait, watch, and learn,” he said.See More:

Star Wars: Zero Company, Bit Reactor's upcoming new Star Wars tactics game, has been officially revealed at Star wars Celebration today for PC, PS5, and Xbox Series X and S with a release window of 2026.Zero Company takes place in the "twilight of the Clone Wars," and stars Hawks, a former Republic officer commanding an elite squad of operatives taking on a growing new threat. It's a single-player game, featuring turn-based tactics gameplay, and is said to incorporate "meaningful outcomes from player choices".Star Wars: Zero Company First ScreenshotsGameplay will involve taking on various tactical operations and investigations all across the galaxy, and in between developing a base of operations and gathering intelligence through an informant network. Zero Company features a cast of brand new Star Wars characters spanning a range of different character classes and species, including a squad that players can swap in and out as they see fit. The main character, Hawks, is also customizable in both appearance and character class.Star Wars: Zero Company is being developed by Bit Reactor, a new studio staffed with strategy game veterans, with support from Lucasfilm Games and Respawn Entertainment, and publsihed by Electronic Arts. This is the first we've seen of the game, after it was rumored for a long time and ultimately teased by EA just last week.Rebekah Valentine is a senior reporter for IGN. You can find her posting on BlueSky @duckvalentine.bsky.social. Got a story tip? Send it to rvalentine@ign.com.

The Man Who Fell to Earth. Labyrinth. The Prestige. These are the titles that usually come to mind when people think of David Bowie’s film career, and with good reason. Even when playing real-world scientist Nikola Tesla in The Prestige, each of these performances captured Bowie’s ethereal public persona. Bowie floated through the movies like a being from another world, immediately imbuing the story with mystery and danger. It’s somewhat fitting then that Bowie’s best film performance came in the most unexpected of places, a movie about the life of Jesus Christ. Indeed, Bowie had one short but powerful scene in Martin Scorsese’s The Last Temptation of Christ, using both his otherworldly nature and his natural warmth for a beguiling take on Roman Governor Pontius Pilate. A Unique Telling of the Greatest Story Of course The Last Temptation of Christ is hardly a standard Jesus movie. Directed by Martin Scorsese and written by Paul Schrader, and based on the novel by Nikos Kazantzakis, the 1988 film immediately courted controversy. Despite that fact that Scorsese and Schrader are both believers, the former a Catholic and the latter a Calvinist turned Episcopalian, Last Temptation drew the ire of those who took exception its portrayal of a very human Jesus (Willem Dafoe) full of doubts and fears. The Last Temptation certainly takes liberties with the usual Passion Play reading. Scorsese eschewed realism and historical accuracy, giving us Harvey Keitel as Judas Iscariot with a New York accent, musicians Michael Been of the Call and John Lurie of the Lounge Lizards as James and John, complete with The Empire Strikes Back director Irvin Kershner as their father Zebedee. But there’s an air of painful realism to Bowie’s scene late in the film, when the arrested Christ is brought before Pilate. As Governor over Judea, Pilate represented the Roman Empire to the people of the occupied land and considered petty disagreements between religious factions as beneath him. In Scorsese’s telling, when this Pilate even meets Christ, it is inside of the Roman governor’s stables. Pilate begins the scene with his back turned to the camera and to Jesus, paying more attention to the steed brought for his inspection. “So you are the King of the Jews,” he asks with disinterest, only turning around when Jesus responds, “King’s your word.” Even then there’s more than a little condescension when he asks Jesus to perform a miracle for him. When none is forthcoming, Pilate wearily decides that he’s “just another Jewish politician.” Pilate tries to provoke Jesus, pointing at him and calling him dangerous, but even that can’t elicit a desired reaction. When Jesus retells a prophecy from the book of Daniel, interpreting it as a story about how God will use him to topple Rome, Pilate cuts him off, clearly bored with another story about the occupied people destroying the occupier. For most of the two-and-a-half-minute scene, Scorsese and cinematographer Michael Ballhaus emphasize Pilate’s distance from Jesus. The scene begins in a wide shot, showing the physical space between them. As the camera cuts to closer shots, Jesus and Pilate rarely appear in the same frame. At the end of the exchange, the camera stays on Pilate as he strides away, having fully measured Jesus up and deemed him as just one more rabble-rouser that the empire must clean up. A Tale of Two Kingdoms Bowie uses that distance from the camera, as well as his precise interlocution, to heighten Pilate’s unearthly qualities. That decision flies in the face of common sense. After all, he’s in a scene with Jesus, proclaimed as God in the form of human. Even in their conversation, Jesus explains that he represents a kingdom that, in his words, “isn’t here.” Shouldn’t Dafoe be playing the alien one here? Because Scorsese and Schrader are creating a grounded, human Christ, however, they want to achieve the exact opposite. Like Kazantzakis’ novel, The Last Temptation takes inspiration from the Gospel of John, which emphasizes Jesus as inaugurating a kingdom unlike any on Earth. So the human qualities and focalization through Jesus makes injection of an Earthly kingdom feel strange. In other words, to represent Rome, the ultimate unreal kingdom in John’s Gospel, Bowie must feel as alien as possible. Bowie expresses that perspective with his nonchalant attitude toward Jesus, all hand waves and arched eyebrows to look down on his charge. But the real testament to Bowie’s skill comes when the scene changes and Pilate sits next to Jesus. “It’s one thing to change how people live, but you want to change how people think, how they feel,” Pilate says, noting the difference between Jesus and the other rebels he’s sentenced. But when Jesus explains that change will happen with love instead of killing, Pilate cannot continue. He repeats that this kind of change is “against Rome, against the way the world is” and therefore is useless. “Killing or loving, it’s all the same. It simply doesn’t matter how you want to change things. We don’t want them changed.” Join our mailing list Get the best of Den of Geek delivered right to your inbox! After that last line, something remarkable happens on Bowie’s face. Pilate’s still looking down at Jesus, still condescending to him like the powerful Roman official that he is. But when Jesus looks back and refuses to respond, Pilate’s face drops. The corners of his mouth turn downward. A sadness creeps into his eyes. Bowie’s expression suggests that Pilate wants Jesus to challenge him, to show him in fact that the world can be changed, changed even through love. And when Jesus doesn’t answer—either out of a refusal to speak, as is often the case in the Gospels, or out of the doubt that wracks Dafoe’s Jesus—Pilate cannot help but feel disappointed. He stands up and pronounces Jesus’s sentence with all the officious insincerity of Michael Palin’s crucifixion coordinator from The Life of Brian and walks off screen. In the World, Not Of the World Where does Pilate go? The answer is, of course, back to the safety of his Roman home and lifestyle. But within The Last Temptation of Christ, it feels like he moves completely out of Jesus’s existence, which underscores the themes. Despite the short contention they almost formed, a powerful and self-assured Roman cannot believe in the message of a self-doubting Jewish teacher. They belong to different worlds. It takes someone like Bowie who has always felt like a man who fell to Earth to underscore that difference. By casting Bowie as a member of the alien Roman Empire, Scorsese brings to life a Jesus who is of the Earth, a Jesus rarely seen on the movie screen.

Apple @ Work is exclusively brought to you by Mosyle, the only Apple Unified Platform. Mosyle is the only solution that integrates in a single professional-grade platform all the solutions necessary to seamlessly and automatically deploy, manage & protect Apple devices at work. Over 45,000 organizations trust Mosyle to make millions of Apple devices work-ready with no effort and at an affordable cost. Request your EXTENDED TRIAL today and understand why Mosyle is everything you need to work with Apple. Software updates on macOS have been challenging for a few years. Between rapid OS releases, Apple silicon authentication requirements, and endless user deferring prompts for weeks at a time, it’s become harder for IT teams to strike the right balance between security and productivity. On one hand, devices need to stay up to date for security and support reasons. On the other hand, you can’t disrupt users in the middle of their workday with forced reboots or surprise upgrade prompts in the middle of a meeting. About Apple @ Work: Bradley Chambers managed an enterprise IT network from 2009 to 2021. Through his experience deploying and managing firewalls, switches, a mobile device management system, enterprise grade Wi-Fi, 1000s of Macs, and 1000s of iPads, Bradley will highlight ways in which Apple IT managers deploy Apple devices, build networks to support them, train users, stories from the trenches of IT management, and ways Apple could improve its products for IT departments. Apple has improved some of the update mechanisms, especially with changes to how Rapid Security Responses and major upgrades work over the air. But there’s still a gap for IT admins who need more control without completely taking over the machine. That’s where an open-source tool like S.U.P.E.R.M.A.N. (Software Update Policy Enforcement (with) Recursive Messaging And Notification or Super for short) comes into play. It’s designed to make the update experience smoother for users and IT teams, no matter which device management system you’re using. What is S.U.P.E.R.M.A.N.? Super is an open source script that helps IT teams enforce macOS minor updates, major upgrades, or even just an enforced restart with minimal user disruption. It installs as a background agent and includes customizable dialogs, notifications, scheduling, and deferral options. Everything can be tailored to fit your environment, and you can deploy it with a single script and optional configuration profiles. Super continuously monitors for available macOS updates or upgrades from Apple. When it finds one, it can automatically download and prepare the update in the background. From there, it presents customizable dialogs to the user, giving them options to install now or defer. IT admins can configure how many deferrals are allowed and even set hard deadlines where the update will install automatically with a restart. For Apple silicon, the app supports various authentication methods, including local user credentials and service accounts. Super also supports scheduled restarts, so even if there are no available updates, IT can ensure machines reboot periodically to maintain performance and security. Everything is logged to a local file, so troubleshooting is straightforward if anything fails. Even in 2025, it’s still mindblowing how a simple restart can resolve many issues. Some key features Super has features that help IT teams manage updates without hindering users. It supports the latest macOS update workflows, including faster over-the-air major upgrades and Rapid Security Response updates. It also handles non-system Apple software updates like Safari and Xcode, installing them automatically after a macOS update or upgrade to minimize user downtime. Super includes smart deferral options that respect Focus mode, Do Not Disturb, and situations where the screen is prevented from sleeping, like during presentations or meetings. The IT team can set maximum deferral counts, deferral days, and even specific date deadlines to make sure updates happen on schedule. If your organization works around maintenance windows, Super supports those as well. You can define exactly when it should be active, so updates only run during approved timeframes. This is especially helpful when teams are under a deadline, etc. Wrap up This app is another example of how great the Mac Admins community is. It’s robust enough that plenty of teams would likely pay for it, and its functionality helps keep macOS up to date. Apple @ Work is exclusively brought to you by Mosyle, the only Apple Unified Platform. Mosyle is the only solution that integrates in a single professional-grade platform all the solutions necessary to seamlessly and automatically deploy, manage & protect Apple devices at work. Over 45,000 organizations trust Mosyle to make millions of Apple devices work-ready with no effort and at an affordable cost. Request your EXTENDED TRIAL today and understand why Mosyle is everything you need to work with Apple. Add 9to5Mac to your Google News feed.  FTC: We use income earning auto affiliate links. More.You’re reading 9to5Mac — experts who break news about Apple and its surrounding ecosystem, day after day. Be sure to check out our homepage for all the latest news, and follow 9to5Mac on Twitter, Facebook, and LinkedIn to stay in the loop. Don’t know where to start? Check out our exclusive stories, reviews, how-tos, and subscribe to our YouTube channel

When Donald Trump took office in January, volunteer archivists got to work, ensuring that government websites were backed up before the incoming administration had a chance to purge more than 110,000 government pages.As part of the administration's extremist anti-diversity, equity, and inclusion agenda, agencies were forced to take down any material related to anything from supporting transgender youth to mentions of women in leadership at NASA — a "digital book burning," according to Harvard University social epidemiologist Nancy Krieger.And now, the Trump administration is exacting revenge. The San Francisco Standard reports that Elon Musk's so-called Department of Government Efficiency, which has spearheaded a highly destructive and ill-conceived gutting of government agency budgets, is now targeting federal grants from the National Endowment for the Humanities (NEH). Among them? One funding the Internet Archive, a nonprofit founded in 1996 with the aim of providing free access to digitized media, including websites, software, music, and print materials.The Internet Archive's Wayback Machine has proven invaluable to researchers, journalists, and archivists, allowing users to go back in time and see how websites looked in the past.According to the Standard, the nonprofit was halfway through an NEH grant of $345,000 when its funding was abruptly cut.It's an especially important initiative, considering the organization was busy archiving websites targeted by the Trump administration."This is really going to impact institutions that we take for granted," Internet Archive director of archiving and data services Jefferson Bailey told the Standard, "like our museums, our historical societies, our public libraries, our academic libraries — just a lot of people that keep information free and accessible and online."Fortunately, according to Bailey, the Internet Archive has other independent streams of funding that will keep it afloat for now.However, smaller nonprofits could suffer greatly as a result of DOGE's NEH cuts. Bay Area-based producer Marc Shaffer called it a "catastrophic development, if not a death blow" for filmmakers."NEH documentaries contribute significantly to American culture," he told the Standard. "They are national treasures deserving of far more support than they receive."While other sources of funding are keeping the Internet Archive afloat, the nonprofit has plenty of other fires to put out as well.Earlier this week, the Internet Archive launched a petition in light of a $700 million lawsuit from major record labels.However, since then, hundreds of musicians have come to speak out in support of the nonprofit.And it's not just musicians — the Internet Archive has grown to be an extremely important tool to ensure that the Trump administration is unable to simply erase the historical record."There's a groundswell of support for the Internet Archive because of the dramatic shift that's going on in parts of the government web infrastructure that you wouldn't imagine would change," Internet Archive founder and director Brewster Kahle told NPR last month. "People are coming and rallying behind us — by using it, by pointing at things, helping organize things, by submitting content to be archived — data sets that are under threat or have been taken down."Share This Article

Residents of Elmira have several internet options available. Here are the top ones you should consider if you're moving into the area.

Ready or Not is coming to console and Epic Games Store later this year Rock ready. Image credit: Void Interactive News by Vikki Blake Contributor Published on April 19, 2025 Void Interactive's tactical FPS Ready or Not is coming to consoles later this year. Whilst the developer stopped short of confirming a firm release date - "summer" (Q3) is the closest we have right now - it did reveal the shooter would also be coming to Epic Games Store and the Microsoft Store, too. To celebrate, here's a brand new cinematic trailer that debuted at the Galaxies Showcase: Ready or Not – Console Reveal Trailer (PS5/Xbox Series X | S).Watch on YouTube Ready or Not sees you visit Los Sueños, where a surge of crime across the greater Los Sueños metropolitan area has severely depleted resources, threatening to "overwhelm the department's ability to maintain order". In response to the growing threats facing residents, LSPD is mobilising its SWAT teams to respond to high-threat scenarios, including active bomb threats, barricaded suspects, and high-risk hostage situations. Ready or Not features "immersive tactical gameplay, full flexibility of approach, and authentic equipment that SWAT teams utilise in the field". You can expect 20 single-player or online co-op missions to play with up to four pals, as well as two new missions as part of the Stories from Los Sueños free DLC update. You'll also get two DLCs that introduce six additional levels, and, in Dark Waters DLC, the UH-60 support helicopter. There are also "dozens of options to customise a player’s entire SWAT team" including armour, weapons, and apparel. PC players will have access to the new missions in a free update day-and-date with console launch. Pre-orderers will also secure the M32A1 grenade launcher, MK-V pistol, 590M shotgun, with players who already have the game on PC also getting the freebies. The game will cost £45 ($50 / €50) whether you buy the base game or the Day One Edition, which includes the pre-order items. There's also a £60 ($70 / €70) Deluxe Edition that includes the base game with three DLC packs - Home Invasion, Dark Waters, and an unannounced one - plus the pre-order goodies also bundled in. Void Interactive lost the publisher for Ready or Not days after comments suggested it would include a school shooting mission. The game was released in early access on 17th December, but in a statement on Twitter shortly afterwards, Void Interactive said it had parted ways with publisher Team17. Though no reasons were given at the time, the change came shortly after a developer responded to a Reddit post about including a school shooting with the statement: "You better believe it's gonna". Ready or Not was briefly taken offline in 2022 following a trademark dispute.

The apartment’s furnishings have also been thought out down to the smallest detail. There are handcrafted chairs from the Greek island of Skyros, plaster works from Florence, and vintage pieces, such as Eames chairs from Vitra and Audiorama 4000 spherical speakers from Grundig. Other design icons include a sofa from Roche Bobois and the Arc coffee table from Wendelbo.The bathroom features a waxed concrete sink and painting by an unknown Beaux-Arts artist from Paris. A green marble shower and sink base continues the stone thematic into all rooms of the house. The soap is by Frama. The space is complemented by several works of art, including a lithograph by the Greek artist Alekos Fassianos, while the painting in the bathroom was created by an unknown artist from the École des Beaux-Arts in Paris. In the area that was previously used to store the owner’s costumes from her stage performances, there’s now a bathtub made of green Rajasthani marble, which was at the top of the client’s wish list. It’s elegant design matches the owner’s theatrical and refined personality.To make the apartment feel larger, it was essential to create different common areas and different perspectives within the space while also integrating plenty of storage into the design. “The solution was to move the kitchen and to use the same materials throughout the apartment which would have the effect of making it feel larger and more functional. That is why, for example, we used green marble in all the areas of the home,” Alexopoulos concludes.The green marble used to colordrench the bathtub is from Rajasthan. “My advice,” Alexopoulos shares, “is to choose materials that age well and add character to a space as well as to make it efficient by using custom designed furniture. Create focal points that structure the floorplan and make sure there are multiple seating areas, to offer different perspectives and places with different energies. Finally, being consistent when it comes to materials and colors will allow you to make the home appear larger than it is.”A detail of the bedroom shows off another plaster bust. A detail of the bathroom highlights a small painting. This 538-square-foot apartment was originally published in AD Italy.

Eclectic houses of the late 19th and early 20th centuries are my favorite as they showcase how architects of the time blend features and break the strict mold of academic styles. This example is found in the Cottage Farm neighborhood of Brookline and dates to 1905. Designed by relatively unknown architect, Alfred Lyman Darrow, who studied at MIT, before opening his own practice. The house was first owned by Hugh G. Brown, who founded the Brown’s News Company and the Hotel & Railroad News Company. The house exhibits half-timbering in the gable ends and decorative corbelled chimneys that derive from the Tudor Revival; the front porch parapet appears to derive from the Spanish Mission style; along with stucco siding and unique windows typical of the Arts and Crafts movement.

Recommended By Fox News Staff Fox News Published April 19, 2025 8:00am EDT close Can this $70,000 robot transform AI research Reachy 2 is touted as a "lab partner for the AI era." Welcome to Fox News’ Artificial Intelligence newsletter with the latest AI technology advancements.IN TODAY’S NEWSLETTER:- 'Terminator' director James Cameron flip-flops on AI, says Hollywood is 'looking at it all wrong'- Nvidia announces plans to make AI supercomputers in US for first time- 4-legged hydrogen-powered robot you can actually ride Director James Cameron attends the "Avatar: The Way Of Water" World Premiere at Odeon Luxe Leicester Square in 2022 in London, England.  (Karwai Tang/WireImage)'I'LL BE BACK': James Cameron’s stance on artificial intelligence has evolved over the past few years, and he feels Hollywood needs to embrace it in a few different ways.MADE IN AMERICA: Nvidia on Monday announced plans to manufacture its artificial intelligence supercomputers entirely in the U.S. for the first time.RIDEABLE 4-LEGGED ROOT: Kawasaki Heavy Industries has introduced something that feels straight out of a video game: CORLEO, a hydrogen-powered, four-legged robot prototype designed to be ridden by humans. Unveiled at the Osaka-Kansai Expo 2025, this futuristic machine is built to handle rugged terrain with ease, combining cutting-edge robotics and sustainable energy. Reachy 2 Humanoid robot is pictured. (Hugging Face)AI LAB PARTNER: The folks at Hugging Face, the open-source artificial intelligence gurus, just jumped into the world of robotics by acquiring Pollen Robotics. And right out of the gate, they are offering the Reachy 2, a super-interesting humanoid robot designed as a "lab partner for the AI era."AI MIND READER: Researchers in California have achieved a significant breakthrough with an AI-powered system that restores natural speech to paralyzed individuals in real time, using their own voices, specifically demonstrated in a clinical trial participant who is severely paralyzed and cannot speak. ROBOT MILKS COWS: In a dairy barn managed by robots, cows can choose to be milked whenever they like, which is often more frequent than the twice-a-day schedule in traditional farms. This increased frequency is more comfortable for the cows and can lead to roughly a 10% increase in milk production. Astronaut milking robot in a photo. (Kurt "CyberGuy" Knutsson)FOLLOW FOX NEWS ON SOCIAL MEDIASIGN UP FOR OUR OTHER NEWSLETTERSDOWNLOAD OUR APPSWATCH FOX NEWS ONLINEFox News GoSTREAM FOX NATIONFox NationStay up to date on the latest AI technology advancements and learn about the challenges and opportunities AI presents now and for the future with Fox News here. This article was written by Fox News staff.