One of the most beloved Apple TV+ series is coming back soon: Slow Horses just got its season 5 release date. more…

A new satellite has captured the first direct evidence of a mysterious nine-day seismic signal that shook the world in 2023.

RoboCop: Rogue City – Unfinished Business preview: ‘We created something bigger than we expected’ Adam Starkey Published June 3, 2025 9:00am Stay out of trouble (Nacon) GameCentral goes hands-on with the standalone expansion of RoboCop: Rogue City, which dials up the action and gory splatter of 2023’s surprise hit. For a franchise that has arguably done nothing of worth since the early 90s, the future of RoboCop is looking surprisingly bright. Following Amazon’s acquisition of MGM, a new TV show is currently in the works, with rumbles of a new film as well. Whether this leads to a major rejuvenation for everyone’s favourite cyborg law enforcer remains to be seen, but the original source of any RoboCop redemption arc has to start with 2023’s RoboCop: Rogue City.  Developed by Polish studio Teyon, RoboCop: Rogue City was the kind of unexpected surprise you rarely get from licensed games. It recaptured the original’s wit and 80s aesthetic, but also found a way to deliver the fantasy of playing as the half-human cyborg without streamlining any of the character’s personality. The bloody action was built around his hulking, slow movement, dry one-liners were in abundance, and missions weren’t always reduced to mowing down thugs in corridors – you also handed people parking tickets, settled trivial civilian disputes, and, in one wonderfully mundane side mission, did the rounds in the office for a get well card.  The game became publisher Nacon’s ‘best ever launch’ with 435,000 players within two weeks. Now, a year and a half later, developer Teyon is back with a standalone expansion. Marketing around Unfinished Business has purposefully dodged the term *DLC*, but as explained by the studio’s communications manager, Dawid Biegun, it started out as exactly that.  ‘When we released RoboCop: Rogue City, we were thinking about, this story has many things [we can] do in the future,’ says Biegun. ‘We had many paths we could choose. So we basically started slowly developing some new storyline. The game was planned to be DLC but it grew out of control. It was a really rare situation where we created something bigger than we expected, so it became a standalone expansion from then.’ Unlike Rogue City, this expansion, which we’re told spans around eight hours on average, is centred around one location in the OmniTower. Like most things in the RoboCop realm created by OCP, this promised idyllic housing complex quickly goes south when a band of mercenaries assume control. To restore order, and after a creepy opening where an attack on the Detroit police station leaves several officers frozen solid, RoboCop is assigned to the case.  RoboCop has new moves at his disposal (Nacon) Unfinished Business wastes little time in throwing you into the action, and quickly amps up the chaos. For anyone who has played Rogue City, all the original tenets of the combat are here, albeit with a slight increase in difficulty. You’ll be looking for explosive cans to blast, illuminated panels to ricochet bullets off walls, and all the while trying not to expose yourself to too much gunfire. The combat purposefully doesn’t have the slick speed of Call Of Duty, but it is still aggressively punchy, with headshots resulting in satisfyingly bloody splatters and RoboCop’s famed Auto-9 machine pistol still having the kickback of a pocket pneumatic drill.  From the get-go, Unfinished Business pushes back in a way Rogue City never did. New enemies equipped with riot shields are a real nuisance if you don’t utilise the ricochet panels, while the ability to slow down time is a much bigger crutch to chip down the enemy numbers from a distance. Health pick-ups felt in shorter supply too, even on the normal difficulty, to the point where we barely scraped through several encounters.  While it’s unclear if this applies to the whole game, Unfinished Business feels like a gnarlier experience, when compared to the original. RoboCop has some new context sensitive finishing moves, like throwing enemy heads into concrete walls or vending machines, which is a satisfying addition to the melee arsenal. There’s greater enemy variety too, between fierce minigun heavyweights and flying drones, along with some neat action set pieces. In one standout, we had to operate a walkway bridge to deactivate a giant turret at the end of a room, dashing between cover as it rains down bullets and destroys the surrounding environment. Anyone who has played action games before will recognise all the mechanics at play in this scenario, but it was still well executed and effective. Another had a whiff of Star Wars, as you rush around shooting electrical panels to stop a trash compactor from crushing you via the descending ceiling. The action shift in Unfinished Business is best defined by a later sequence we got to play, where you take control of the franchise’s signature mech, ED-209. If the power fantasy of playing as RoboCop is tested in this expansion, ED-209’s section was pure mental catharsis, where you blast away enemy hordes with miniguns and rockets, and clean up any stragglers with a rigid, robotic stomp. The rush of piloting ED-209, with its cacophony of explosions and bullets, felt like a throwback to vehicle sections in a long lost Xbox 360 game – but in a good way.  While there’s a definite lean towards combat, rather than gift card signing, when compared to Rogue City, it hasn’t entirely abandoned the detective side. According to the developers, if Rogue City had a 60/40 percent split between guns and detective work, Unfinished Business ‘would be like 70/30, or 80/20’ in comparison. More Trending We saw some of this , with one memorable encounter seeing you quizzed by a RoboCop superfan who is unconvinced you’re the actual RoboCop, leading to a series of questions based on the history of the franchise. There is optional side missions too, although the time we had with our preview limited our chance to fully delve into them. The sales and positive reviews for RoboCop: Rogue City emboldened Teyon’s vision and scope for Unfinished Business – and that confidence shines through in what we played. Some might be disappointed by the steer towards action, and we were heading into this preview, but by the end, this felt like a welcome extension with its own unique flavour. This is RoboCop: Rogue City with its pedal to the floor, confined and concentrated into a lean, tightly focused machine.  As for the studio’s next steps, the success of RoboCop has only reaffirmed Teyon’s strengths and identity as a team. Between its three studios across Poland and Japan, with over 140 employees in total, Teyon wants to maintain its grip within the AA space. ‘We feel strong here in such games,’ Biegun said. ‘We wouldn’t want to grow like 200, 300, 400 people, because we’re going to lose our soul this way. We want to stay as we are right now.’ ED-209 needs be wary of stairs (Nacon) Email gamecentral@metro.co.uk, leave a comment below, follow us on Twitter, and sign-up to our newsletter. To submit Inbox letters and Reader’s Features more easily, without the need to send an email, just use our Submit Stuff page here. For more stories like this, check our Gaming page. Arrow MORE: How to get a Nintendo Switch 2 this week in the UK GameCentral Sign up for exclusive analysis, latest releases, and bonus community content. This site is protected by reCAPTCHA and the Google Privacy Policy and Terms of Service apply. Your information will be used in line with our Privacy Policy

High Potential season 2 has officially begun production – here's everything we know about the hit Hulu crime drama's return so far.

Macworld A new report shows Android phones outfitted with Qualcomm cellular modems outperforming the iPhone 16e with its own Apple C1 modem. Unfortunately, the limited nature of the tests, combined with the fact that it was commissioned by Qualcomm, means we can’t learn much from it. The tests were performed by Cellular Insights, and you can read the summary here or the full report here. The general summary of the results is that the Android devices had download speeds around 35 percent faster than the iPhone 16e, and upload speeds between 81 percent and 91 percent faster. That the report was paid for by Qualcomm, of course, makes it suspect, but there are other limitations worth noting. First, the report doesn’t let us know which Android phones were tested. It says one is “a 2025 flagship device powered by Snapdragon X80 5G Modem-RF System priced at $799” and the other is “a 2024 flagship device powered by Snapdragon X75 5G Modem-RF System priced at $619.” That narrows it down somewhat, but it’s odd that the iPhone 16e is named (the only device with an Apple C1 modem after all) and the Android devices are kept somewhat secret. Second, the testing all took place in only three locations in a single small geographical area—the Astoria neighborhood in Queens, New York City. Even our own testing, which we noted was quite limited, managed to test five locations around the greater Sacramento area. Finally, the study exclusively used T-Mobile’s commercial SA 5G network. As with our own testing, which took place only on the Verizon network, looking at a single carrier (especially only in one neighborhood) captures only a very limited experience. A more extensive set of tests comes from Ookla, whose report back in March used data from many users across the country testing with its popular Speedtest app. That report captured the experience on all three major carriers, and interestingly, the gap between the iPhone 16 (using a Qualcomm modem) and the iPhone 16e (with the Apple C1) was widest on, you guessed it, T-Mobile’s network. So this test looks slightly suspect. Not only is it paid for by Qualcomm, but it pits the $599 iPhone 16e against unnamed Android phones, in just three locations of a single neighborhood, on the carrier in which Qualcomm’s modems just happen to outperform Apple’s by the widest margin. And it only tests upload and download speeds, not other aspects such as stability when moving within and between cell areas, latency, or power utilization. None of this means the report is false, but it gives the appearance of cherry-picking tests to get the results you want. Ultimately, there’s nothing of note here. The C1 modem was never meant to outperform Qualcomm’s best modems, only to provide a comparable experience to mid-tier products with good stability and lower power utilization. Apple’s future modems (C2 and C3, presumably) are expected to increase performance with each generation, ultimately with the aim of beating Qualcomm’s best offerings in 2026 or 2027.

Augmented World Expo 2025 will draw more than 6,000 attendees, 400 speakers and 300 global exhibitors to its event June 10 to June 12 in Long Beach, California. The speaker lineup includes Snap CEO Evan Spiegel, Atari cofounder Nolan Bushnell and Oculus/Anduril founder Palmer Luckey. If the show is any indication, the XR industry isn’t doing so bad. A variety of market researchers are forecasting fast growth for the industry through 2030. Ori Inbar, CEO of AWE, believes that the XR revolution is “ready to conquer the mainstream.” But to get there, he believes the industry still needs to create “head-turning content that must be experienced.” Of course, the red hot days of the “metaverse,” inspired by Neal Stephenson’s Snow Crash sci-fi novel in 1992, is no longer driving the industry forward. With less focus on sci-fi, the industry is focused on practical uses for mixed reality technology in the enterprise and consumer markets like gaming. But will XR and the metaverse be overrun by AI, or will it carry them to the mass market destination? Much is riding on how committed Mark Zuckerberg’s Meta will be even as it reprioritizes some resources away from XR to AI. Meta, which acquired Luckey’s Oculus back in 2014, has invested billions every quarter in the technology, with no profits so far. But, in a very unexpected turnaround, Zuckerberg and Luckey buried the hatchet on the past differences and set up an alliance between Meta and Anduril — the latter being Luckey’s AI/drone defense company. Zuckerberg has new competition from his own nemesis, Apple, which launched the Apple Vision Pro in February 2024. However, Apple has slowed down its development of the next-generation XR headset, while Zuckerberg has put more emphasis on AR/AI glasses. Spiegel, the CEO of Snap, has focused on augmented reality glasses. His Spectacles are now in their fifth generation, powered by the Snap OS and authoring tool Lens Studio. Nolan Bushnell, founder of Atari and Chuck E. Cheese, will deliver a one-of-a-kind talk on the main stage with five of his children, who are continuing his pioneering vision in gaming through XR. Brent Bushnell, Nolan’s eldest son, recently debuted DreamPark, a new XR startup that turns any park or playground into a mixed reality theme parks. Others speakers include Vicki Dobbs Beck – VP, Immersive Content Innovation, Lucasfilm & ILM Immersive; Ziad Asghar – SVP & GM XR, Qualcomm; Brian McClendon – Chief Technology Officer, Niantic Spatial, Inc.; Jason Rubin – VP, Metaverse Experiences, Meta; Hugo Swart, Senior Director of XR Ecosystem Strategy and Technology, Google; Jacqui Bransky – VP Web3 & Innovation, Warner Records; Chi Xu – CEO and Founder, XREAL; Helen Papagiannis – AR Pioneer and XR Hall of Famer; and Tom Furness – Grandfather of VR and Founder, Virtual World Society. AWE Builders Nexus will be a new program focused on startups this year. Startup founders, developers, designers, product managers, and business leaders alike will get the resources they need to build something extraordinary, get advice and funding, scale through partnerships, and win customers, Inbar said. The event will also feature the AWE Gaming Hub. I also interviewed some companies that are showcasing technology at the show. Here’s some snippets from what they are going to show. Pico VR Pico started out in Beijing, China, in 2015 and is now hitting its 10th anniversary. It is making the standalone Pico XR headsets, and it was acquired by ByteDance, the owner of TikTok, in 2021. In September 2024, the company launched the Pico 4 Ultra Enterprise headset, filling out the high end of its product line in addition to its G3 and Neo 3 legacy headsets. Pico also has its set of full-body motion trackers to its product offerings to allow for full-body and object tracking. That’s helping it with its focus on location-based entertainment in markets such as China. It’s focused on WiFi7, hand tracking and motion tracking. Leland Hedges, head of enterprise business at Pico, said that the LBE market in China has grown by 1,000% in the last six to nine months Pico has an app for PC streaming and another app for managing devices over a LAN. Pico can track play spaces with columns or cordoned-off areas. Hedges said the company will share 15 different user stories at AWE in public places such as zoos, museums, aquariums and planetariums. Convai Purnendu Mukherjee, CEO of Convai, showed me a bunch of demos at the Game Developers Conference where it has been able to create avatar-based demos of generative AI solutions with 3D animated people. These can be used to show off brands and greet people on web sites or as avatars in games. At AWE, Convai will also off learning and training scenarios for education and enterprises through a variety of simulations. Convai can render high fidelity avatars that are effectively coming from the cloud. At GDC, Convai scanned me and captured my voice so that it can create a lifelike avatar of me. These avatars can be created quickly and answer a variety of questions from website visitors. The idea is to enable non-technical people to create simulations without the need to code anything. In a demo, Convai’s avatar of me said, “I’ve been covering the games industry for many years now at games beat I’ve seen it evolve from the arcades to the massive global phenomenon it is today. I love digging into the business side of gaming, the technology, the culture, the whole shebang.” Convai will announce pricing for its self-serve platform as well as an enterprise subscription fee. Doublepoint Ohto Pentikäinen, CEO of Doublepoint, has a technology that detects the gesture you can make with your hand. It captures that movement via a smartwatch and allows you to control things on a TV interface or an XR device. With Android XR, Doublepoint is showing off demos where gesture control can unlock a more intuitive and comfortable augmented reality experience for those wearing AR glasses. Xreal is one of the glasses makers that is using the technology for controlling an AR user interface with gestures. “Our technology is able to fully control a XR system. A stat that we can update you on is that there’s 150,000 people who have downloaded the technology so far, and we have a developer community of over 2,000 people since January 2024,” Pentikäinen said. Now the company is starting its own Doublepoing developer program, and this adds layers on top of the enterprise client. So now the company can provide technology for indie developers or startups that are building augmented reality or AI hardware experiences. “We’re empowering developers in AR robotics and AI hardware, and we’re providing everything that we’re providing the enterprise clients, but for a much reduced price,” Pentikäinen said.

Drosera capensis, commonly known as the Cape sundew, is a perennial rosette-forming carnivorous plant in the family Droseraceae. It is endemic to the Western Cape and Eastern Cape provinces of South Africa. As in all sundews, the leaves are covered in stalked, mucilage-secreting glands (or 'tentacles') that attract, trap, and digest arthropod prey. When prey is captured, the tentacles bend inward and the leaves curl around it, preventing escape and enhancing digestion by increasing the surface area of the leaf in contact with the prey. This time-lapse video shows a D. capensis leaf curling up around a Mediterranean fruit fly over a period of approximately six hours. Video credit: Scott Schiller Recently featured: Cucumis metuliferus Ignace Tonené Australian white ibis Archive More featured pictures

Phasmophobia June's update reworks the Journal, Media, and brings a "total overhaul" of evidence collection Ghost-it Note. Image credit: Kinetic Games News by Vikki Blake Contributor Published on May 31, 2025 Kinetic Games has confirmed Phasmophobia's next content drop, Chronicle, will release on 24th June, and it'll be its "biggest update yet". As well as introducing a "total overhaul" of how evidence is collected, the team said Chronicle will expand investigations with three new evidence types, a completely redesigned Journal, reworked levelling and progression, a refreshed Main Menu UI, and "many eerie surprises still lurking in the dark". Phasmophobia - Console Launch Trailer.Watch on YouTube But at the "heart" of the Chronicle update is the debut of the all-new Sound evidence. An entirely new haunting paranormal proof type can be captured through the new Sound Recorder, bringing "a new dimension to gameplay, revealing subtle clues that might otherwise be drowned out by terrified screams". Available in the customary three upgrade tiers, players will be able to record audio from ghost events, Spirit Box responses, and Paranormal Sounds like those detected by the Parabolic Microphone. It's this new evidence type that's necessitated a Journal upgrade, too. The Photo tab will be rebranded as "Media", and keep all your photos, videos, and new sound recordings in one place. Importantly, you'll have to fill your journal with all these unique media types, including "EMF spikes to ghostly interactions and fleeting glimpses of otherworldly forms", to complete a "perfect" investigation. Image credit: Kinetic Games "Chronicle will also introduce a revamped media quality system," Kinetic teased. "The first evidence capture of any media type will be marked as 'Unique', granting extra cash and XP rewards at the end of each contract. Any subsequent captures of the same evidence type will be classed as 'Duplicates', offering smaller rewards. The new system will also add tier bonuses based on the equipment used and adds all media captures into the Reward Multiplier, making every shot, sound, and sight count even more toward player’s final payouts." Don't forget that this year, Phasmophobia will also rework Grafton Farmhouse, following Bleasdale Farmhouse's recent overhaul. Before then, though, we'll also get to see the new levelling and progression system and Main Menu UI when Chronicle arrives at the end of June. The ghost-hunting sim has sold two million copies on console since it came out of early access last October, bringing the total sales across all platforms to 22 million. The development team recently outlined the road ahead for the spooky sim in 2025, confirming map reworks, new ghost-hunting equipment, "thrilling seasonal events", and a brand-new location, too.

Apple's iPhone has taken a bite out of Hollywood horror, playing a key role in the visual storytelling of the new "28 Years Later" movie.A rig holding multiple iPhones | Image Credit: SonyIf you're a fan of the zombie genre, chances are you've probably seen the 2002 classic "28 Days Later." The film was famous for its look and feel, and this was largely due to the fact that it had been filmed digitally.And, that choice wasn't done on a whim. Director Danny Boyle and screenwriter Alex Garland were aware of the pervasiveness of digital camcorders — had an apocalypse happened 23 years ago, it most certainly would have been captured by one of these devices. Continue Reading on AppleInsider | Discuss on our Forums

The turing test in reverse Real TikTokers are pretending to be Veo 3 AI creations for fun, attention From music videos to "Are you a prompt?" stunts, "real" videos are presenting as AI Kyle Orland – May 31, 2025 7:08 am | 13 Of course I'm an AI creation! Why would you even doubt it? Credit: Getty Images Of course I'm an AI creation! Why would you even doubt it? Credit: Getty Images Story text Size Small Standard Large Width * Standard Wide Links Standard Orange * Subscribers only   Learn more Since Google released its Veo 3 AI model last week, social media users have been having fun with its ability to quickly generate highly realistic eight-second clips complete with sound and lip-synced dialogue. TikTok's algorithm has been serving me plenty of Veo-generated videos featuring impossible challenges, fake news reports, and even surreal short narrative films, to name just a few popular archetypes. However, among all the AI-generated video experiments spreading around, I've also noticed a surprising counter-trend on my TikTok feed. Amid all the videos of Veo-generated avatars pretending to be real people, there are now also a bunch of videos of real people pretending to be Veo-generated avatars. “This has to be real. There’s no way it's AI.” I stumbled on this trend when the TikTok algorithm fed me this video topped with the extra-large caption "Google VEO 3 THIS IS 100% AI." As I watched and listened to the purported AI-generated band that appeared to be playing in the crowded corner of someone's living room, I read the caption containing the supposed prompt that had generated the clip: "a band of brothers with beards playing rock music in 6/8 with an accordion." @kongosmusicWe are so cooked. This took 3 mins to generate. Simple prompt: “a band of brothers playing rock music in 6/8 with an accordion”♬ original sound - KONGOS After a few seconds of taking those captions at face value, something started to feel a little off. After a few more seconds, I finally noticed the video was posted by Kongos, an indie band that you might recognize from their minor 2012 hit "Come With Me Now." And after a little digging, I discovered the band in the video was actually just Kongos, and the tune was a 9-year-old song that the band had dressed up as an AI creation to get attention. Here's the sad thing: It worked! Without the "Look what Veo 3 did!" hook, I might have quickly scrolled by this video before I took the time to listen to the (pretty good!) song. The novel AI angle made me stop just long enough to pay attention to a Kongos song for the first time in over a decade. Kongos isn't the only musical act trying to grab attention by claiming their real performances are AI creations. Darden Bela posted that Veo 3 had "created a realistic AI music video" over a clip from what is actually a 2-year-old music video with some unremarkable special effects. Rapper GameBoi Pat dressed up an 11-month-old song with a new TikTok clip captioned "Google's Veo 3 created a realistic sounding rapper... This has to be real. There's no way it's AI" (that last part is true, at least). I could go on, but you get the idea. @gameboi_pat This has got to be real. There’s no way it’s AI 😩 #google #veo3 #googleveo3 #AI #prompts #areweprompts? ♬ original sound - GameBoi_pat I know it's tough to get noticed on TikTok, and that creators will go to great lengths to gain attention from the fickle algorithm. Still, there's something more than a little off-putting about flesh-and-blood musicians pretending to be AI creations just to make social media users pause their scrolling for a few extra seconds before they catch on to the joke (or don't, based on some of the comments). The whole thing evokes last year's stunt where a couple of podcast hosts released a posthumous "AI-generated" George Carlin routine before admitting that it had been written by a human after legal threats started flying. As an attention-grabbing stunt, the conceit still works. You want AI-generated content? I can pretend to be that! Are we just prompts? Some of the most existentially troubling Veo-generated videos floating around TikTok these days center around a gag known as "the prompt theory." These clips focus on various AI-generated people reacting to the idea that they are "just prompts" with various levels of skepticism, fear, or even conspiratorial paranoia. On the other side of that gag, some humans are making joke videos playing off the idea that they're merely prompts. RedondoKid used the conceit in a basketball trick shot video, saying "of course I'm going to make this. This is AI, you put that I'm going to make this in the prompt." User thisisamurica thanked his faux prompters for putting him in "a world with such delicious food" before theatrically choking on a forkful of meat. And comedian Drake Cummings developed TikTok skits pretending that it was actually AI video prompts forcing him to indulge in vices like shots of alcohol or online gambling ("Goolgle’s [sic] New A.I. Veo 3 is at it again!! When will the prompts end?!" Cummings jokes in the caption). @justdrakenaround Goolgle’s New A.I. Veo 3 is at it again!! When will the prompts end?! #veo3 #google #ai #aivideo #skit ♬ original sound - Drake Cummings Beyond the obvious jokes, though, I've also seen a growing trend of TikTok creators approaching friends or strangers and asking them to react to the idea that "we're all just prompts." The reactions run the gamut from "get the fuck away from me" to "I blame that [prompter], I now have to pay taxes" to solipsistic philosophical musings from convenience store employees. I'm loath to call this a full-blown TikTok trend based on a few stray examples. Still, these attempts to exploit the confusion between real and AI-generated video are interesting to see. As one commenter on an "Are you a prompt?" ambush video put it: "New trend: Do normal videos and write 'Google Veo 3' on top of the video." Which one is real? The best Veo-related TikTok engagement hack I've stumbled on so far, though, might be the videos that show multiple short clips and ask the viewer to decide which are real and which are fake. One video I stumbled on shows an increasing number of "Veo 3 Goth Girls" across four clips, challenging in the caption that "one of these videos is real... can you guess which one?" In another example, two similar sets of kids are shown hanging out in cars while the caption asks, "Are you able to identify which scene is real and which one is from veo3?" @spongibobbu2 One of these videos is real… can you guess which one? #veo3 ♬ original sound - Jett After watching both of these videos on loop a few times, I'm relatively (but not entirely) convinced that every single clip in them is a Veo creation. The fact that I watched these videos multiple times shows how effective the "Real or Veo" challenge framing is at grabbing my attention. Additionally, I'm still not 100 percent confident in my assessments, which is a testament to just how good Google's new model is at creating convincing videos. There are still some telltale signs for distinguishing a real video from a Veo creation, though. For one, Veo clips are still limited to just eight seconds, so any video that runs longer (without an apparent change in camera angle) is almost certainly not generated by Google's AI. Looking back at a creator's other videos can also provide some clues—if the same person was appearing in "normal" videos two weeks ago, it's unlikely they would be appearing in Veo creations suddenly. There's also a subtle but distinctive style to most Veo creations that can distinguish them from the kind of candid handheld smartphone videos that usually fill TikTok. The lighting in a Veo video tends to be too bright, the camera movements a bit too smooth, and the edges of people and objects a little too polished. After you watch enough "genuine" Veo creations, you can start to pick out the patterns. Regardless, TikTokers trying to pass off real videos as fakes—even as a joke or engagement hack—is a recognition that video sites are now deep in the "deep doubt" era, where you have to be extra skeptical of even legitimate-looking video footage. And the mere existence of convincing AI fakes makes it easier than ever to claim real events captured on video didn't really happen, a problem that political scientists call the liar's dividend. We saw this when then-candidate Trump accused Democratic nominee Kamala Harris of "A.I.'d" crowds in real photos of her Detroit airport rally. For now, TikTokers of all stripes are having fun playing with that idea to gain social media attention. In the long term, though, the implications for discerning truth from reality are more troubling. Kyle Orland Senior Gaming Editor Kyle Orland Senior Gaming Editor Kyle Orland has been the Senior Gaming Editor at Ars Technica since 2012, writing primarily about the business, tech, and culture behind video games. He has journalism and computer science degrees from University of Maryland. He once wrote a whole book about Minesweeper. 13 Comments