Lymow said the Lymow One is the world's first smart robotic mower with mulching blades and tracked threads.Read More

Timekettle has unveiled the Babel OS, its first-ever operating system designed to redefine its language translation earbuds.Read More

In the ever-evolving landscape of sports entertainment, World Wrestling Entertainment (WWE) has consistently demonstrated an uncanny ability to be at the forefront of broadcast industry trends. WWEs latest move, a $5 billion deal with Netflix to broadcast WWE Raw, exemplifies the companys forward-thinking approach.With its first Raw set to air on Jan. 6, WWEs newest partnership marks another evolution of Netflixs approach to live content as well. The streaming monolith is coming off a historic ratings win for the NFL on Christmas Day and both companies are bullish on the potential for ratings to snowball as Netflix and WWE are set to ring in the new year together. By audience scale alone, WWEs access to Netflixs mammoth audience of over 282 million subscribers globally could usher in a new Golden Era for wrestling.To understand how we got to the point where WWE could potentially see its largest viewing audience in company history, we have to look back at four key broadcasting innovations that got us here.The Golden Era Meets PPVLets turn the clock back to 1985 a.k.a. The Golden Era. While most wrestling companies relied on the traditional broadcast models, WWE (then known as WWF) made a bold gamble by putting WrestleMania 1 on pay-per-view (PPV). During this time, PPV was in its infancy and mostly boxing took advantage of upselling its audience. To order a PPV, some viewers had to call their local provider and drive to pick up a special box to access the broadcast. There was nothing convenient about ordering a PPV, so the mere fact that WrestleMania 1 had over one million viewers, the largest PPV program ever at the time, was astonishing and set the stage for a lucrative business model for years to come.WWEs owner and promoter Vince McMahon mortgaged everything including his home into WrestleMania 1 and the gamble that paid off huge for WWE. It was a new business model that would later be used more frequently by boxing, mixed martial arts, and more. WWE had effectively created a high level gated content tier years before streaming services popularized the concept.Changing the Game with the XFLWWEs innovative spirit extends well beyond its core wrestling business through ventures like the XFL. The football league, launched by McMahon in 2001 and again in 2018, faced challenges and ultimately failed twice. However, we cannot overlook the leagues numerous technological advances.One standout was the revolutionary helmet camera, which gave viewers at home a players-eye view of the action, immersing them in the game. As camera technology has advanced, these types of broadcast vantage points have become commonplace.Now popularized amongst NFL rights holders today, the XFLs wire camera provided incredible dynamic shots of the full field, elevating the viewing experience for the home viewer. The leagues insistence on all access behind the scenes was initially poorly received by critics and audiences, but elements of the XFL, and by extension WWEs production team, have been adopted by major sports leagues for both in-game content and peripheral programming like sports documentaries.The XFLs infamously disastrous first season is seen as a blunder on McMahon personally, and the company at large, but nearly 25 years later its easy to see how WWE drove technical advancements across the broader sports entertainment landscape. As it enters the third phase of its streaming life (more on the first and second phase below), many fans and critics of professional wrestling are curious what new broadcast permutations may come of the WWE x Netflix partnership.WWE was an early adopter of YouTube in 2008 while many companies were still fighting digital piracy. This forward thinking ultimately turned into a lavish pay off. WWE has over 100 million subscribers across their main YouTube channels, putting WWE in position as one YouTubes most successful platforms. WWE is the largest sports channel on YouTube and No. 10 overall, and has more subscribers than the NBA, NFL, MLB and NHL combined.Read more WWEs growing collaboration with content creators shows its adaptability in the digital era, leveraging influencers to help expand its reach, diversify its audience, and deepen fan engagement. They started with radio personalities like Peter Rosenberg and Sam Roberts to social media influencers such as @itswheezyblonde and @musclemanmalcolm, WWE has embraced a grassroots, savvy approach. By inviting creators to media junkets and events, WWE created a more authentic coverage and amplified its social media presence. The success of WrestleMania 38, which outperformed Super Bowl LVI in key metrics like impressions (2.2 billion vs. 1.8 billion), video views (1.1 billion vs. 618 million), watch time (13.1 million hours vs. 3.56 million), and engagements (87 million vs. 78 million), showcases the impact of this strategy. Content creators bring relatable voices, expanded reach, and cross-platform promotion, helping WWE attract new audiences and set a benchmark for sports entertainment marketing in the digital era.Join our mailing listGet the best of Den of Geek delivered right to your inbox!WWE Network Charges Into The Streaming WorldAfter successfully dividing up rights among broadcast television, cable, and its crown jewel events for PPV, WWE became the first major sports entertainment company to start its own streaming service in 2014. The WWE Network ventured into streaming just before many of the larger media conglomerates launched their direct-to-consumer platforms, some of which still are around today, while others crashed and burned.WWEs direct-to-consumer product allowed the company to collect valuable fan data more easily, enabling them to better understand their audience and tailor content to their preferences. In 2014, digital data collection was not as pervasive as it is today, making WWEs initiative particularly forward-thinking. This early adoption of data-driven insights gave WWE a significant advantage in engaging with its fanbase, refining its offerings, and staying ahead of consumer trends. It also laid the foundation for leveraging analytics to inform marketing strategies, programming decisions, and overall business growth.As more players entered the streaming business, the company later shifted by folding their content offering into NBCs streamer Peacock beginning in 2021 as part of a billion-dollar licensing deal. Though Peacock has struggled to gain market share in a crowded streaming environment, the deal in theory broadened audience access to WWE by making it a categoryon a more populous steaming platform and was a forerunner to the RAW on Netflix agreement.From pioneering pay-per-view with WrestleMania 1 to creating the WWE Network long before streaming became mainstream, WWE has been one of the few companies to be ahead of the entertainment curve. By engaging Netflixs vast audience, WWE is poised to redefine how live sports and entertainment content are consumed on streaming platforms.

Forget taking an electrocardiogram from your wrist; now you can take one from your finger. The Circular Ring Gen 2, which was announced on Jan. 5 just ahead of CES 2025, is one of few smart rings that can detect atrial fibrillation. It's a feature that's become common in smartwatches but is still relatively rare on smart rings.The new ring will be available for $380 in February or March after a crowdfunding campaign in January.Read more: How Wearables Are Slowly Turning Into Personal Health Coaches in 2025 Watch this: Oura Ring 4: What's New, and What I Liked and Don't Like So Far 05:55 Atrial fibrillation is a condition in which a person experiences an irregular heartbeat. It can increase one's risk of stroke and other heart-related conditions according to the Mayo Clinic. It's estimated to affect 10.5 million US adults, or nearly 5% of the population, reports the University of California San Francisco. Circular says its Afib detection algorithm has been cleared by the US Food and Drug Administration.Most Apple Watch models have been capable of taking an electrocardiogram since the Apple Watch Series 4 arrived in 2018, and the feature has become more common on wrist-worn wearables in recent years. While popular smart rings like those made by Oura and Samsung can't detect Afib, Circular isn't the first to put this functionality on your finger.Ultrahuman's smart ring can measure signs of the condition overnight.The Circular Ring 2 will be available in gold, silver, black and rose gold and is made from titanium. It should last for eight days on a single charge, and Circular says it's also redesigned the ring's accompanying app.Circular's new ring is yet another sign that the smart ring market is growing and becoming increasingly competitive with traditional fitness trackers and smartwatches.Oura, broadly considered to be the leader in the smart ring category, released its latest model in October, which includes a new sensing system that should improve accuracy. Samsung, meanwhile, just launched its first smart ring in July 2024.According to the International Data Corporation, shipments of smart rings are estimated to have grown by 88.4% in 2024, far outpacing growth in other categories like watches, earbuds and glasses.Jack Leathem, a research analyst at Canalys, said in a previous interview that smartwatches could learn a thing or two from smart rings like those made by Oura."They're actually pushing quite a bit of innovation within the smartwatch fields," he said. "And vendors need to catch up." Galaxy Watch Ultra and Galaxy Ring Gallery: Details Up Close See all photos

The Nike x Hyperice boots include compression and heat for post-workout recovery, and athletes wore them during the 2024 Olympics.

Click to Search, AI meal planning, a smarter Bixby and a new "AI" remote button headline the company's 2025 smart TV enhancements.

In a post on his personal blog, OpenAI CEO Sam Altman said that he believes OpenAI know[s] how to build [artificial general intelligence] as it has traditionally understood it and is beginning to turn its aim to superintelligence.We love our current products, but we are here for the glorious future, Altman wrote in the post, which was published late Sunday evening. Superintelligent tools could massively accelerate scientific discovery and innovation well beyond what we are capable of doing on our own, and in turn massively increase abundance and prosperity.AGI, or artificial general intelligence, is a nebulous term. But OpenAI has its own definition: highly autonomous systems that outperform humans at most economically valuable work. OpenAI and Microsoft, the startups close collaborator and investor, also have a definition of AGI: AI systems that can generate at least $100 billion in profits. (When OpenAI achieves this, Microsoft will lose access to its technology, per an agreement between the two companies.)So which definition might Altman be referring to? He doesnt say explicitly. But it seems likely he means the former. In the post, Altman wrote he thinks AI agents AI models that can perform certain tasks autonomously may join the workforce and materially change the output of companies. We continue to believe that iteratively putting great tools in the hands of people leads to great, broadly-distributed outcomes, wrote Altman.Thats possible. But its also true that todays AI technology has significant technical limitations. It hallucinates. It makes mistakes obvious to any human. Altman seems confident this can be overcome and rather quickly but if theres anything weve learned about AI over the past few years, its that timelines can be unpredictable.

Best known for its Qooba cat pillow, Yukai Engineering has made a name for itself with some of the strangest little robots around. Who could forget, for example, Amagami Ham Ham, whose sole purpose is to gnaw on fingers, offering a somewhat pleasing sensation. At CES 2025, Yukai unveiled its latest, Mirumi, and it follows in those furry footsteps.The little robot is, in essence, a furball that mounts to a purse, delight[ting] bystanders as it spontaneously turns its head to steal a glance at a nearby person. Much like Ham Hams finger munching, Yukai found inspiration in the form of infants.Image Credits:Yukai EngineeringDesigned to re-create peoples joyful experiences of noticing a human baby as he/she tries to interact with them, the company writes, Mirumi moves its head in several different ways to express its curiosity, bashfulness and other baby-like qualities and emotions.The firm says the product was dreamt up during an in-house Make-a-Thon. Its genesis is the Yokai: mischievous supernatural spirits found in Japanese folklore.Image Credits:Yukai EngineeringThe bot scans its surroundings, using a combination of motion and proximity sensing, as well as taps and movement of the bag onto which it is mounted. Yukai describes the different modes:Curiosity: Looks around once the bag begins to move Inquisitiveness: Turns its head to look at a detected person or objectBashfulness & Cautiousness: Turns back its head to hide the face when a person/object suddenly appears or when being tapped on the bodyRejection: Shakes its head to say no when jiggledComfort: Turn its head to look around again when remaining uninterrupted for a while

As part of our ongoing coverage of films in the lead-up to the Oscar Bake-off on January 11, 2025, we talk to Paul Lambert, the films Oscar-winning Visual Effects Supervisor, about the incredible epic masterpiece: Dune Part Two.Dune Part Two: Following the destruction of House Atreides by House Harkonnen, Paul Atreides unites with Chani and the Fremen while seeking revenge against the conspirators who destroyed his family. Facing a choice between the love of his life and the universes fate, he must prevent a terrible future only he can foresee.Director Denis Villeneuve with Timothe Chalamet on setDirector Denis Villeneuve with DOP Greig FraserDune Part Two was directed and produced by Denis Villeneuve, who co-wrote the screenplay with Jon Spaihts. Paul Lambert was the production VFX Supervisor and he joins the fxpodcast this week to discuss the film in depth.Director Denis Villeneuve with Rebecca Ferguson on setDNEG led the visual effects, along with several other companies such as RodeoFX, Territory Studio, Wylie Co. and ReDefine. Australian cinematographer Greig Fraser was the DOP. As Paul discusses in the fxpodcast, the film builds on the Dune Part One, which garnered ten nominations at the 94th Academy Awards, including Best Picture, and went on to win a leading six awards for Best Original Score, Best Sound, Best Cinematography, Best Production Design, Best Film Editing, and of course: Best Visual Effects.As we discuss, DOP Greig Fraser shot the grand fight that occurs early on in the film as black-and-white infrared. He used an Alexa LF camera that had been modified and then VFX matched to that.

Mirror, mirror, on the wall, how is my cholesterol?