It's the same every year. Like clockwork, both social media and real media clamour to do what they do best: moan. Not about politics. Not about the trains. Not even about the weather. No, it's Glastonbury Festival time, which means it's time for the annual whinge-fest over how much it costs and how bad the line-up is. It's a tradition as sacred as Glastonbury itself. Within minutes of the headliners being announced, someone somewhere will tweet "WHO?" as if that settles the matter. The tickets, they declare, are extortionate. The food is overpriced. The toilets are... well, they're not wrong there, to be fair. And yet Glastonbury sells out. Every. Single. Time. In minutes. Not hours, not days, but minutes; just 35 of them, this time around. A digital stampede of fans crashes the ticketing servers, elbows each other out of the virtual queue, and desperately parts with £373.50 of their hard-earned cash. If people really thought it wasn't worth it, why would that happen? Deep down, Glastonbury fans know it is worth it. Not just for the vibes. Not just for the bragging rights. In terms of basic maths alone, it remains a much cheaper way to see all your favourite bands compared with buying tickets to individual gigs. Let's break it down. From this year's stacked, genre-hopping, generation-spanning line-up, these are my 10 ride-or-die bands, the ones I'm determined to see come hell or high water at this year's Glastonbury. And next to them is a reasonable estimate of how much it would cost to see them individually on tour. Alanis Morissette: £60-£135 Charli XCX: £85-£200+ English Teacher: £25-£35 Gracie Abrams: £100-£400+ John Fogerty: £35-£130+ Lola Young: £25-£40 Olivia Rodrigo: £120-£200+ Raye: £50-£100+ Wet Leg: £30-£40 Wolf Alice: £40-£60 You can quickly see how these individual tickets would add up, and that's before the beer-soaked chips and £17 parking surcharges at the O2. But at Glastonbury, they're all included, alongside more than two thousand other acts. Plus five nights of camping, firewood, circus performers, standup comedy, theatre performers, secret gigs, DnB raves, late-night poetry slams, kids' clubs, drone shows, the visionary chaos of Shangri-La, a bloke dressed as a badger doing tai chi at 4am, and the very real possibility of watching Chris Martin duet with a kestrel. All for less than the price of one premium Olivia Rodrigo ticket at the Birmingham NEC with a half-decent sightline. © Amy Fern © George Harrison © Amy Fern No one involved with the festival will ever say this out loud... but in truth, this is underpricing. Glastonbury doesn't cost too much; it's that it's charging less than it's worth. The organisers know it, the scalpers know it, and deep down, so do we. Why else would the event remain massively oversubscribed year after year? The lesson for freelancers Herein lies the lesson for anyone who's ever said yes to a freelance gig, then immediately regretted it because the fee barely covers your oat milk habit. Every time you flinch at raising our rates, worrying, "What if they say no?" you need to remember that people will always complain about the price. But then they pay it anyway, if what you're offering is good. Just like a Glastonbury ticket, your work has value that goes beyond the sum of its parts. Clients might baulk at a day rate, grumble at a quote, or attempt the classic "Can you do it for exposure?". But if they really want you, they'll find the budget. Sure, you could try to undercut your peers. Offer the cheapest design package. Throw in extra concepts for free. Discount your fee before they even ask. But all that gets you is the creative equivalent of being the sad burger stand next to the rave tent: underpaid, undervalued, and slightly sticky. Here's the uncomfortable truth: clients don't always know what things should cost. They base their expectations on their last hire, a Fiverr ad, or what their mate's cousin paid a graphic design student in 2017. © George Harrison © Yushy Pachnanda © JodyHartley But it's not your job to price yourself within their comfort zone. It's your job to price yourself according to your value. If clients can't afford you, that's not rejection; that's redirection. Someone else—someone better, someone ready—will always pay you what you're worth. Just like someone always buys the last Glastonbury ticket. So ignore the noise. Just like the festival, you're not for everyone, and that's fine. Your rates should make you feel slightly nervous, not make your client feel overly comfortable. That's how you grow. That's how you stay booked. That's how you avoid burnout and build a business rather than a bargain bin. In other words, next time you feel the urge to knock 20% off your quote "just to be safe", picture yourself standing in a Somerset field surrounded by 200,000 sweaty strangers who all agreed—despite the price, despite the moaning, despite the toilets—that it was absolutely worth it. And then charge accordingly.

Netflix has no shortage of options when it comes to science fiction programming and experimental anthology series, but Love, Death + Robots is an especially beautiful love letter to science fiction’s chameleonic nature and endless versatility. The unpredictable animated anthology series combines sci-fi with comedy, horror, fantasy, mystery, and romance as it brings gripping genre literature to life through a modern lens. In doing so, Love, Death + Robots doesn’t just celebrate science fiction; it helps it evolve. Sci-fi is a revelatory storytelling genre that can open the audience’s mind and forever change their perception of reality. The best of it probes, inspires, and admonishes, which is exactly what Tim Miller (Deadpool) and Jennifer Yuh Nelson (Kung Fu Panda 2 and 3) strive for in Love, Death + Robots, now in its fourth season. Nothing is off-limits in the series, whether it’s a cat-fueled dystopia, gladiatorial combat atop dinosaurs, or a poet’s feud with Satan. The show aims to create the same level of jubilation in its viewers as those who discovered these short stories for the first time. Pretty much all the vignettes have been based on short stories that Tim’s read throughout his life,” explains Nelson, Love, Death + Robots’ supervising director. “We have hundreds of these stories just piled up.” There’s a true passion for the source material that helps Love, Death + Robots excel. This enormous collection of genre classics gets carefully selected as each new season takes shape.  “We try to curate the perfect mix. So we have a little something for everybody,” creator Miller elaborates. This has been one of the secrets to Love, Death + Robots’ success. Each collection of episodes is truly unique and feels like a pulpy paperback of short stories. In fact, Love, Death + Robots has even published collections of each season’s stories. “All the money goes to the authors,” Miller proudly adds. “We want people to read the stories! Forget about making them into movies.” Love, Death + Robots has resonated with science fiction fans who appreciate captivating and concise storytelling. That being said, Love, Death + Robots is also a visual extravaganza that pushes just as many boundaries in animation. Four seasons in, the series “Often, we choose the director and the animation studio according to their specialty,” Nelson explains as she continues to break down the meticulous nature of this process. “If we have two tentpole episodes that look a certain way, then we want to make sure that those episodes are going to look vastly different from each other.” For instance, Titmouse’s impressionistic work on Volume IV’s “How Zeke Got Religion” actively enhances the story. “You need to find their thing,” Nelson adds in reference to Love, Death + Robots’ roster of animation studios and what they each bring to the table. “It’s important for us, especially for this series, to make sure that we’re really showcasing the whole breadth of animation,” asserts Nelson. “Sometimes these directors are very much pioneers in what they do, and no one else is doing what they do. That’s why we end up working with them.” Photo-realistic 3D animation, stop-motion, traditional 2D visuals, and stop-motion are just some of the animation styles on display in Love, Death + Robots. The series has even increasingly dipped its toe into live-action stories that blur the lines between reality and animation. “Rarely do you see such a showcase of animation like this,” Nelson says. “This is a way to show new ideas, new looks, and new innovation by different directors and studios around the world.” Miller reiterates that it’s a deeply collaborative process where the animation studios have just as much agency as the storytellers.  “We push it in the initial direction, and then the directors come in and do their pitch.” The final product becomes a synthesis of ideas that are built upon ambition and taking risks. “We try to give them as much freedom as we can,” Miller emphasizes. This relationship has paid off well, earning the animated series 13 Primetime Emmy Awards, including Outstanding Short Form Animated Program and Outstanding Individual Achievement in Animation. The series’ latest batch of episodes is likely to add to this already impressive collection of accolades. Love, Death + Robots’ 45 episodes provide a broad, brave mix of everything that science fiction and animation have to offer. However, the series continues to look forward and is determined to surpass these heights. “We’ve got a lot of stories,” boasts Miller. “I have the next season—seasons, actually—picked out.” And while there were previously spin-offs and off-shoots in consideration, Love, Death + Robots is the perfect incubator for these stories, whether they’re two minutes or 20 minutes. “The beauty of the show is that we’d never get some of these ideas made if we were asking to do a feature,” admits Miller.  Join our mailing list Get the best of Den of Geek delivered right to your inbox! Love, Death + Robots plays by its own rules and continues to redefine anthology storytelling. It’s still the only series where fans can alternate between a string puppet rock concert and Russian Civil War soldiers fighting ancient supernatural evils. “There’s still a lot of room to do new and innovative things that we haven’t done before,” Miller insists. “Although we always seem to end up with too many cat stories. I can’t really explain that.” Four volumes of Love, Death & Robots are available to stream on Netflix now.

Facing huge fines, Apple on Monday began a legal challenge to the European Commission’s “unreasonable” demand that it open up its platforms to rivals, arguing any such move threatens the foundations of its platforms with a costly process that also undercuts its ability to serve customers. The company is, in a word, furious. It argued that it has cooperated with the Commission’s demands under the Digital Markets Act (DMA) and points to the investments it has already made in complying with that act. What Apple said “At Apple, we design our technology to work seamlessly together, so it can deliver the unique experience our users love and expect from our products,” the company said in a statement. “The EU’s interoperability requirements threaten that foundation, while creating a process that is unreasonable, costly, and stifles innovation. These requirements will also hand data-hungry companies’ sensitive information, which poses massive privacy and security risks to our EU users.” The company also noted that there is a real risk that people’s most sensitive information could be accessed, partially because it becomes so much harder to defend. These attempts are already taking place, Apple said. “Companies have already requested our users’ most sensitive data — from the content of their notifications to a full history of every stored Wi-Fi network on their device — giving them the ability to access personal information that even Apple doesn’t see. In the end, these deeply flawed rules that only target Apple — and no other company will severely limit our ability to deliver innovative products and features to Europe, leading to an inferior user experience for our European customers. We are appealing these decisions on their behalf, and in order to preserve the high-quality experience our European customers expect.” A one-sided approach What seems to really upset Apple is that some aspects of the demands mean the company will effectively be forced to hand its innovations out to businesses with which it is in direct competition — at no charge. That means Apple does not get to draw the full benefits of its work and makes it far more difficult to introduce products in Europe. What makes matters worse is that while Apple is being forced to open up in ways that advantage competitors, quite literally at its expense, it is not being given the opportunity to do the same back. Apple is the only company that these demands have been made of, meaning it is being forced to give its intellectual property away to others who do not need to play by the same rules. Some data hungry companies are already attempting to exploit the DMA to gain unfettered access to sensitive customer data. All the while, Apple is left alone and isolated in its quest to ensure user privacy consistent with GDPR regulation. It’s attempts to protect privacy are about protecting customers. Compliance? We are compliant While critics will continue to sneer and jeer at the company in their quest to rid the world of the “Apple Tax” only the world’s largest developers actually pay, Apple would argue that it has been making serious efforts to comply with the DMA. The company has opened up a portal developers can use to request additional interoperability with hardware and software features inside iPhones and iPads. Apple consistently opens up API access to iPhone, including opening up SMS messaging to RCS, HomeKit features and messaging services support. It has also put in place numerous other enhancements in response to the DMA, and while the warning messages it places when using third-party stores may be stark, this makes them no less true. Europe seems to want customers to use third-party stores with no warning at all that this is what is going on, which seems weird. Malicious regulatory compliance There is a degree to which much of the situation seems to reflect political, rather than economic or moral pressures. The fact that Europe is using Apple as a high profile example, while also refusing to be totally transparent about what it wants before levying any fines, suggests that the Commission is not so much deciding on facts as implementing a political decision using a set of laws that seem designed almost solely to punish one company. That’s the kind of malicious regulatory compliance Apple is furious about — a compliance regime that will now be tested in the courts. Will it make a difference?  Who knows? But the existential battle will decide the future of technology in Europe, and if the market is worth doing business in when compared to the cost of doing so. It will also determine the future of Apple, which will use its considerable resources to find some way to change the nature of the game. One group it seems unlikely to help will be those of Apple’s European customers who are happy and accustomed to the Apple ecosystem, and don’t particularly want to use third-party services, as Apple’s right to offer that “pure Apple” experience seems a likely sacrifice to Europe’s politically-driven zeal. That is, unless cooler heads do curtail the Commission’s attacks. You can follow me on social media! Join me on BlueSky,  LinkedIn, and Mastodon.

The Krusty Burger is a health inspector's nightmare, responsible for spawning the Krusty Burger, the Ribwich, The Clogger, and the Steamed Ham (per Principal Skinner). It comes with seven minifigures, including Krusty the Clown, Sideshow Bob, Homer Simpson, and Officer Lou. You can purchase it for $209.99 on June 4, although LEGO Insiders can order the set via Early Access beginning on June 1. You can sign up for free here.LEGO The Simpsons: Krusty BurgerOut June 1 for LEGO Insiders, and June 4 for everyone else.$209.99 at LEGO StoreTo learn more about the set and its creation, we interviewed its designer. Ann Healy is a 39-year-old Senior Model Designer who's worked with the LEGO Group for the past six years. Here, lightly edited for clarity, are her thoughts on creating LEGO The Simpsons: Krusty Burger, the first new LEGO Simpsons set in nearly a decade. What other LEGO sets have you had a hand in designing over the past six years? Healy: I worked for three years on the LEGO Friends line. A few years ago, I got the opportunity to work on a Disney favorite of mine: The Sanderson Sisters’ Cottage set from Hocus Pocus. That project took years in the making to come to market, and I’m quite proud of it. More recently, I have been working on the LEGO Icons team. From last year’s products, I designed the McLaren MP4/4 & Ayrton Senna set and the Poinsettia LEGO Botanicals set.What drove the decision to revive the Simpsons brand after such a long hiatus? Healy: We saw that even after a 10-year stretch since a new Simpsons set, there was still a lot of love for The Simpsons amongst LEGO fans. Our market research showed that there is huge brand loyalty for The Simpsons, appealing to people globally. Designing the Krusty Burger in LEGO brick form serves as a natural continuation of our Simpsons line and gives us the opportunity to make new, never-before-seen LEGO minifigures.LEGO designers often build in their free time, working towards builds that they hope will one day become sets.“Coincidentally, the original Simpsons House and Kwik-E-Mart LEGO sets were some of the last sets I purchased before I knew I would be coming to work at The LEGO Group. In my first week working here, I found an early prototype of the Krusty Burger set on a shelf in our office. For context, LEGO designers often build in their free time, working towards builds that they hope will one day become sets. It gave me hope that someday, I might get the chance to work on something like that. Five years later, to my surprise, our Head of Marketing pulled that same prototype off the shelf and said it was time to revisit The Simpsons! I volunteered right away as a lifelong fan of the Simpsons. I couldn’t believe my luck!Describe the process of designing and building this set as best you can. How many times did you have to build the entire model in the course of finalizing it?Healy: I started with refining and updating the old prototype, figuring out the general layout and developing a building-instruction flow. I worked digitally first, then built the model physically. From there, I would go back and forth between digital and physical, seeing if the model would work with real bricks. We have design team check-ins where I showed progress on the model and got suggestions from our Creative Lead and the other model designers. I had several check-ins with the IP partner, where I would show them the latest updates and they could give feedback on the model and mini figures. I also had internal review meetings with our Model Governance and Building Experience teams, where we build the model, review every construction step, evaluate the play experience and test the strength of the model.I did not keep track of every time I rebuilt the model, but I would estimate at least 20 times. The last time I built the Krusty Burger set was when the first production boxes arrived from the factory. I built it one last time for quality assurance!Krusty Burger isn't a fully realized location in the show in the same way that Moe's Tavern is, or the Kwik-E Mart is, or the Simpsons’ house is. Which TV episodes did you use to map out the Krusty Burger and determine how it's set up? Healy: Disney was a great partner in sending us reference images and layouts when available. Also, I watched as many episodes of The Simpsons as possible, so I could translate the TV animation into a real, physical, toy playset. Season 20, Episode 21, “Coming to Homerica,” is the episode we used the most in reference, because it features the Mother Nature Burger that we reference several times in this LEGO set. The “Ribwich” from Season 14, Episode 12, “I'm Spelling as Fast as I Can,” is also featured. Other referenced episodes of note include: Season 6, Episode 15, “Homie the Clown” – Homer performs at a Krusty Burger Season 12, Episode 13, “Day of the Jackanapes” – Bart and Sideshow Bob go to the Krusty Burger. Season 10, Episode 1, Lard of the Dance” – Homer tries to sell grease from the restaurant.Season 7, Episode 15, “Bart the Fink” – Features the IRS Burger takeover.Season 19, Episode 1, “He Loves to Fly and He D'ohs” – Homer hides in the Krusty Zone ball pit. Season 15, Episode 10, “Diatribe of a Mad Housewife” – Shows the Krusty Burger drive thru sign. Season 21, Episode 4, "Treehouse of Horror XX" – Features the Krusty Burger in “Don't Have a Cow, Mankind.”What's your favorite deep cut Easter Egg in the build? Healy: Above the Krusty Burger drive-thru window, there is a kitchen display screen, showing that someone has placed an order for 700 burgers. This is a reference to the Season 5 episode “Boy-Scoutz 'n the Hood,” in which Krusty has unwisely opened a Krusty Burger oil rig in the middle of the sea.What was the most challenging aspect of designing this build? How were you able to overcome it? Healy: The most rewarding challenge of designing this set was building the Krusty Burger Sign with LEGO bricks. The IP partner paid a lot of attention to the proportions of Krusty’s face within the sign, giving us reference material and tips on how to best capture his likeness. We even got hand-drawn doodles of the Krusty the Clown from them! One of my model-designer colleagues used to work as an illustrator and used his skills to capture Krusty’s features in brick-form even more accurately. In addition, it was challenging to get the heavy Krusty Burger sign to stand up and remain stable on a single axle. Our Element Lead on the design project suggested we use a new element she was developing, an axle sleeve, to increase the weight the rod could hold upright. This new element did the trick.The most rewarding challenge of designing this set was building the Krusty Burger Sign with LEGO bricks.“Is this a one-off revival of the Simpsons brand? Or is this the beginning of a longer partnership, where we can expect to see more LEGO Simpsons themed sets in the near future?Healy: I cannot speculate on future products, per the LEGO Group’s and our partners' policies. Nonetheless, as a huge Simpsons fan myself, I am hopeful that fans have a positive response to this set!LEGO The Simpsons: Krusty Burger, Set #10352, retails for $209.99, and it is composed of 1635 pieces. You can purchase it on June 4 for the general public, or starting on June 1 for LEGO Insiders. You can sign up for LEGO Insiders for free here. And stay tuned! We will be building, photographing, and reviewing LEGO Krusty Burger later this month,Kevin Wong is a contributing freelancer for IGN, specializing in LEGO. He's also been published in Complex, Engadget, Gamespot, Kotaku, and more. Follow him on Twitter at @kevinjameswong.

We may earn a commission from links on this page.Like shopping on Amazon itself, Prime Video can sometimes feel like a jumble sale: a proliferation of TV and movies from every era, none of it terribly well-curated. There’s a lot to sort through, and the choices can be a little overwhelming. Presentation issues aside, there are some real gems to be found, as long as you’re willing to dig a bit—the streamer offers more than a few impressive exclusives, though they sometimes get lost amid the noise. Here are 20 of the best TV series Prime Video has to offer, including both ongoing and concluded shows.Overcompensating (2025 – ) Comedian Benito Skinner plays himself, sort of, in this buzzy comedy that sees a former high school jock facing his freshman year in college, desperately trying to convince himself and everyone else that he's as straight as they come (relatable, except for the jock part). Much of the show's appeal is in its deft blending of tones: It's a frequently raunchy college comedy, but it's simultaneously a sweet coming-of-age story about accepting yourself without worrying about what everyone else thinks. The impressive cast includes Adam DiMarco (The White Lotus) and Rish Shah (Ms. Marvel) You can stream Overcompensating here. Étoile (2025 –, renewed for season two) Amy Sherman-Palladino and David Palladino (Gilmore Girls, The Marvelous Mrs. Maisel) are back on TV and back in the dance world (following Bunheads) with this series about two world-renowned ballet companies (one in NYC and one in Paris) that decide to spice things up by swapping their most talented dancers. Each company is on the brink of financial disaster, and so Jack McMillan (Luke Kirby), director of the Metropolitan Ballet, and Geneviève Lavigne (Charlotte Gainsbourg), director of of Le Ballet National, come up with the plan, and recruit an eccentric billionaire (Simon Callow) to pay for it. Much of the comedy comes from the mismatched natures of their swapped dancers, and there's a tangible love of ballet that keeps things light, despite the fancy title. You can stream Étoile here.Fallout (2024 – , renewed for second and third seasons) A shockingly effective video game adaptation, Fallout does post-apocalyptic TV with a lot more color and vibrancy than can typically be ascribed to the genre (in the world of Fallout, the aesthetic of the 1950s hung on for a lot longer than it did in ours). The setup is a little complicated, but not belabored in the show itself: It's 2296 on an Earth devastated two centuries earlier by a nuclear war between the United States and China, exacerbated by conflicts between capitalists and so-called communists. Lucy MacLean (Ella Purnell) emerges from the underground Vault where she's lived her whole life protected from the presumed ravages of the world above, hoping to find her missing father, who was kidnapped by raiders. The aboveground wasteland is dominated by various factions, each of which considers the others dangerous cults, and believes that they alone know mankind's way forward. It's also overrun by Ghouls, Gulpers, and other wild radiation monsters. Through all of this, Lucy remains just about the only human with any belief in humanity, or any desire to make things better. You can stream Fallout here.Deadloch (2023 –, renewed for a second season) Both an excellent crime procedural and an effective satire of the genre, this Australian import does about as well as setting up its central mystery as Broadchurch and its many (many) imitators. Kate Box stars as Dulcie Collins, fastidious senior sergeant of the police force in the fictional town of the title. When a body turns up dead on the beach, Dulcie is joined by Madeleine Sami's Eddie Redcliffe, a crude and generally obnoxious detective brought in to help solve the case. Unraveling the web of secrets and mysteries in the tiny Tasmanian town is appropriately addictive, with the added bonus of cop thriller tropes getting mercilessly mocked all the way. You can stream Deadlock here.The Lord of the Rings: The Rings of Power (2022 – , third season coming) All the talk around The Rings of Power in the lead-up to the series had to do with the cost of the planned five seasons expected to be somewhere in the billion dollar range. At that price point, it’s tempting to expect a debacle—but the resulting series is actually quite good, blending epic conflict with more grounded characters in a manner that evokes both Tolkien, and Peter Jackson’s Lord of the Rings films. Set thousands of years before those tales, the series follows an ensemble cast lead by Morfydd Clark as Elven outcast Galadriel and, at the other end of the spectrum, Markella Kavenagh as Nori, a Harfoot (the people we’ll much later know as Hobbits) with a yearning for adventure who finds herself caught up in the larger struggles of a world about to see the rise of the Dark Lord Sauron, the fall of the idyllic island kingdom of Númenor, and the the last alliance of Elves and humans. You can stream The Rings of Power here.Reacher (2022 – , fourth season coming) Getting high marks for his portrayal of the Lee Childs’ character (from both book and TV fans) is Alan Ritchson (Titans), playing Reacher with an appropriately commanding physical presence. The first season finds the former U.S. Army military policeman visiting the rural town of Margrave, Georgia...where he’s quickly arrested for murder. His attempts to clear his name find him caught up in a complex conspiracy involving the town’s very corrupt police force, as well as shady local businessmen and politicians. Subsequent seasons find our ripped drifter reconnecting with members of his old army special-investigations unit, including Frances Neagley (Maria Stan), who's getting her own spin-off. You can stream Reacher here. The Bondsman (2025, one season) It's tempting not to include The Bondsman among Prime's best, given that it's representative of an increasingly obnoxious trend: shows that get cancelled before they ever really got a chance. This Kevin Bacon-led action horror thriller did well with critics and on the streaming charts, and it's had a consistent spot among Prime's top ten streaming shows, but it got the pink slip anyway. Nevertheless, what we did get is a lot of fun: Bacon plays Hub Halloran, a bounty hunter who dies on the job only to discover that he's been resurrected by the literal devil, for whom he now works. It comes to a moderately satisfying conclusion, despite the cancellation. You can stream The Bondsman here. The Lord of the Rings: The Rings of Power (2022 – , third season coming) All the talk around The Rings of Power in the lead-up to the series had to do with the cost of the planned five seasons expected to be somewhere in the billion dollar range. At that price point, it’s tempting to expect a debacle—but the resulting series is actually quite good, blending epic conflict with more grounded characters in a manner that evokes both Tolkien, and Peter Jackson’s Lord of the Rings films. Set thousands of years before those tales, the series follows an ensemble cast lead by Morfydd Clark as Elven outcast Galadriel and, at the other end of the spectrum, Markella Kavenagh as Nori, a Harfoot (the people we’ll much later know as Hobbits) with a yearning for adventure who finds herself caught up in the larger struggles of a world about to see the rise of the Dark Lord Sauron, the fall of the idyllic island kingdom of Númenor, and the the last alliance of Elves and humans. You can stream The Rings of Power here.The Expanse (2015 – 2022, six seasons) A pick-up from the SyFy channel after that network all but got out of the original series business, The Expanse started good and only got better with each succeeding season. Starring Steven Strait, Shohreh Aghdashloo, and Dominique Tipper among a sizable ensemble, the show takes place in a near-ish future in which we’ve spread out into the solar system, while largely taking all of the usual political bullshit and conflicts with us. A salvage crew comes upon an alien microorganism with the potential to upend pretty much everything, if humanity can stop fighting over scraps long enough to make it matter. The show brings a sense of gritty realism to TV sci-fi, without entirely sacrificing optimism—or, at least, the idea that well-intentioned individuals can make a difference. You can stream The Expanse here. Mr. & Mrs. Smith (2024 – , renewed for a second season) One-upping the Brad Pitt/Angelina Jolie movie on which it's based, Mr. & Mrs. Smith stars Donald Glover and Maya Erskine as a couple of spies tasked to pose as a married couple while coordinating (and sometimes competing against one another) on missions. Smartly, each episode takes on a standalone mission in a different location, while complicating the relationship between the two and gradually upping the stakes until the season finale, which sees them pitted against each other. The show is returning for season two, though it's unclear if Glover and Erskine will be returning, or if we'll be getting a new Mr. & Mrs. You can stream Mr. & Mrs. Smith here. Good Omens (2019– , conclusion coming) Michael Sheen and David Tennant are delightful as, respectively, the hopelessly naive angel Aziraphale and the demon Crowley, wandering the Earth for millennia and determined not to let the perpetual conflict between their two sides get in the way of their mismatched friendship. In the show’s world, from the 1990 novel by Neil Gaiman and Terry Pratchett, heaven and hell are are less representative of good and evil than hidebound bureaucracies, more interested in scoring points on each other than in doing anything useful for anyone down here. It’s got a sly, quirky, sometimes goofy sense of humor, even while it asks some big questions about who should get to decide what’s right and what’s wrong. Following some depressingly gross revelations about writer and showrunner Gaiman, it was announced that he'd be off the production and the third season would be reduced to a movie-length conclusion, date tbd. You can stream Good Omens here. The Marvelous Mrs. Maisel (2017 – 2023, five seasons) Mrs. Maisel was one of Prime’s first and buzziest original series, a comedy-drama from Amy Sherman-Palladino (Gilmore Girls) about the title’s Midge Maisel (Rachel Brosnahan), a New York housewife of the late 1950s who discovers a talent for stand-up comedy. Inspired by the real-life careers of comedians like Totie Fields and Joan Rivers, the show is both warm and funny, with great performances and dialogue; it also achieves something rare in being a show about comedy that’s actually funny. You can stream Mrs. Maisel here. The Boys (2019 – , fifth and final season coming) There’s a lot of superhero stuff out there, no question, but, as there was no series quite like the Garth Ennis and Darick Robertson comic book on which this show is based, there’s nothing else quite like The Boys. The very dark satire imagines a world in which superheroes are big with the public, but whose powers don’t make them any better than the average jerk. When his girlfriend is gruesomely killed by a superhero who couldn’t really care less (collateral damage, ya know), Wee Hughie (Jack Quaid) is recruited by the title agency. Led by Billy Butcher (Karl Urban), the Boys watch over the world’s superpowered individuals, putting them down when necessary and possible. A concluding fifth season is on the way, as is a second season of the live-action spin-off (Gen V). An animated miniseries (Diabolical) came out in 2022. The Man in the High Castle (2015–2019, four seasons) From a novel by Philip K. Dick (whose work has been the basis for Blade Runner, Total Recall, Minority Report, A Scanner Darkly, among many others), The Man in the High Castle takes place in an alternate history in which the Axis powers won World War II, and in which the United States is split down the middle; Japan governing the west and Germany the east. The title’s man in the high castle offers an alternate view, though, one in which the Allies actually won, with the potential to rally opposition to the Axis rulers. As the show progresses through its four seasons, the parallels to our increasingly authoritarian-friendly world, making it one of the more relevant shows of recent years. You can stream The Man in the High Castle here. The Wheel of Time (2021 – 2025, three seasons) An effective bit of fantasy storytelling, The Wheel of Time sees five people taken from a secluded village by Moiraine Damodred (Rosamund Pike), a powerful magic user who believes that one of them is the reborn Dragon: a being who will either heal the world, or destroy it entirely. The show has an epic sweep while smartly focusing on the very unworldly villagers, experiencing much of this at the same time as the audience. This is another mixed recommendation in that, while the show itself is quite good, it has just been cancelled following a third season that saw it really getting into its groove. The show goes through the fourth and fifth books of Robert Jordan's fantasy series, so, I suppose, you can always jump into the novels to finish the story. You can stream Wheel of Time here. The Devil’s Hour (2022 – , renewed for a third season) Jessica Raine (Call the Midwife) joins Peter Capaldi (The Thick of It, Doctor Who) for a slightly convoluted but haunting series that throws in just about every horror trope that you can think of while still managing to ground things in the two lead performances. Raine plays a social worker whose life is coming apart on almost every level: She’s caring for her aging mother, her marriage is ending, her son is withdrawn, and she wakes up at 3:33 am every morning exactly. She’s as convincing in the role as Capaldi is absolutely terrifying as a criminal linked to at least one killing who knows a lot more than he makes clear. You can stream The Devil's Hour here. Batman: Caped Crusader (2024 – , second season coming) I know, there's a lot of Batman out there. But this one's got real style, harkening back to Batman: The Animated Series from the 1990s (no surprise, given that Bruce Timm developed this one too). With a 1940s-esque setting, the show dodges some of the more outlandish superhero tropes to instead focus on a Gotham City rife with crime, corrupt cops, and gang warfare. There's just enough serialization across the first season to keep things addictive. You can stream Caped Crusader here. Secret Level (2024 – , renewed for a second season) This is pretty fun: an anthology of animated shorts from various creative teams that tell stories set within the worlds of various (15 so far) video games, including Unreal, Warhammer, Sifu, Mega Man, and Honor of Kings. It's hard to find consistent threads given the variety of source material, but that's kinda the point: There's a little something for everyone, and most shorts don't demand any extensive knowledge of game lore—though, naturally, they're a bit more fun for the initiated. The voice cast includes the likes of Arnold Schwarzenegger, his son Patrick Schwarzenegger, Keanu Reeves, Gabriel Luna, Ariana Greenblatt, and Adewale Akinnuoye-Agbaje. You can stream Secret Level here. Cross (2024 – , renewed for a second season) James Patterson's Alex Cross novels have been adapted three times before, all with mixed results: Morgan Freeman played the character twice, and Tyler Perry took on the role in 2012. Here, the forensic psychologist/police detective of a few dozen novels is played by Aldis Hodge (Leverage, One Night in Miami...), and it feels like he's finally nailed it. There are plenty of cop-drama tropes at work here, but the series is fast-paced and intense, and Hodge is instantly compelling in the iconic lead role. You can stream Cross here. Fleabag (2016–2019, two seasons) Fleabag isn’t a Prime original per se, nor even a co-production, but Amazon is the show’s American distributor and still brands it as such, so we’re going to count it. There’s no quick synopsis here, but stars Phoebe Waller-Bridge as the title character (only ever known as Fleabag) in the comedy drama about a free-spirited, but also deeply angry single woman in living in London. Waller-Bridge won separate Emmys as the star, creator, and writer of the series (all in the same year), and co-stars Sian Clifford, Olivia Coleman, Fiona Shaw, and Kristin Scott Thomas all received well-deserved nominations. You can stream Fleabag here.

A team of Purdue University students recently set a new Guinness World Record with their custom robot that solved a Rubik’s Cube in just 0.103 seconds. That was about a third of the time it took the previous record-setting bot. But the new record wasn’t achieved by simply building a robot that moves faster. The students used a combination of high-speed but low-res camera systems, a cube customized for improved strength, and a special solving technique popular among human speed cubers.The Rubik’s Cube-solving robot arms race kicked off in 2014, when a robot called Cubestormer 3 built with Lego Mindstorms parts and a Samsung Galaxy S4 solved the iconic puzzle in 3.253 seconds — faster than any human or robot could at the time. (The current world record for a human solving a Rubik’s Cube belongs to Xuanyi Geng, who did it in just 3.05 seconds.) Over the course of a decade, engineers managed to reduce that record to just hundreds of milliseconds.Last May, engineers at Mitsubishi Electric in Japan claimed the world record with a robot that solved a cube in 0.305 seconds. The record stood for almost a year before the team from Purdue’s Elmore Family School of Electrical and Computer Engineering — Junpei Ota, Aden Hurd, Matthew Patrohay, and Alex Berta — shattered it. Their robot has come to be known as Purdubik’s Cube. Bringing the robot record down to less than half a second required moving away from Lego and, instead, using optimized components like industrial motors. Getting it down to just 0.103 seconds, however, required the team from Purdue to find multiple new ways to shave off milliseconds.“Each robot that previous world record-holders has done has kind of focused on one new thing,” Patrohay tells The Verge. When MIT grad students broke the record in 2018, they opted for industrial hardware that outperformed what previous record-holders had used. Mitsubishi Electric chose electric motors that were better suited for the specific task of spinning each side of the cube, instead of just hardware that moved faster.However, the first thing the Purdue students improved was actually the speed that their robot could visualize the scrambled cube. Human speed cubing competitors are allowed to study a Rubik’s Cube before their timer starts, but the robot record includes the time it takes it to determine the location of all the colored squares. The students used a pair of high-speed machine vision cameras from Flir, with a resolution of just 720x540 pixels, pointed at opposing corners of the cube. Each camera can see three sides simultaneously during exposures that lasted as little as 10 microseconds.The Purdubik’s Cube’s high-speed Flir cameras use wide-angle lenses, and the Rubik’s Cube appears in only a very small region of their field of view. The color detection system relies on low-resolution images of the puzzle, which speeds up processing times. Photo: Matthew Patrohay / Purdue UniversityAlthough it may seem instantaneous, it takes time for a camera to process the data coming from a sensor and turn it into a digital picture. The Purdubik’s Cube uses a custom image detection system that skips image processing altogether. It also only focuses on a very small area of what each camera’s sensor sees — a cropped region that’s just 128x124 pixels in size — to reduce the amount of data being moved around.Raw data from the sensors is sent straight to a high-speed color detection system that uses the RGB measurements from even smaller sample areas on each square to determine their color faster than other approaches — even AI.“It’s sometimes slightly less reliable,” Patrohay admits, “but even if it’s 90 percent consistent, that’s good enough as long as it’s fast. We really want that speed.”Despite a lot of the hardware on Purdue’s robot being custom-made, the team chose to go with existing software when it came to figuring out the fastest way to solve a scrambled cube. They used Elias Frantar’s Rob-Twophase, which is a cube-solving algorithm that takes into account the unique capabilities of robots, like being able to spin two sides of a cube simultaneously.The team also took advantage of a Rubik’s Cube-solving technique called corner cutting where you can start to turn one side of the cube before you’ve finished turning another side that’s perpendicular to it. The advantage to this technique is that you’re not waiting for one side to completely finish its rotation before starting another. For a brief moment, there’s overlap between the movements of the two sides that can result in a significant amount of time saved when you’re chasing a world record.High-speed footage of the Purdubik’s Cube reveals how it uses the corner-cutting technique to overlap movements and reduce the time it takes to solve the Rubik’s Cube. Photo: Matthew Patrohay / Purdue UniversityThe challenge with corner cutting is that if you use too much force (like a robot is capable of) and don’t time things perfectly, you can physically break or even completely destroy a Rubik’s Cube. In addition to perfecting the timing of the robot’s movements and the acceleration of its motors, the students had to customize the cube itself.Guinness World Records follows the guidelines of the World Cube Association, which has a long list of regulations that need to be followed before a record will be recognized. It allows competitors to modify their cube, so long as it twists and turns like a standard Rubik’s Cube and has nine colored squares on each of its six sides, with each side a different color. Materials other than plastic can be used, but the color parts all need to have the same texture. To improve its durability, the Purdue team upgraded the internal structure of their cubes with a custom 3D-printed version made from stronger SLS nylon plastic. The WCA also allows the use of lubricants to help make cubes spin more freely, but here it’s used for a different reason.“The cube we use for the record is tensioned incredibly tight, like almost hilariously tight,” says Patrohay. “The one that we modified is very difficult to turn. Not impossible, but you can’t turn it with your fingers. You have to really get your wrist into it.” When solving the cube at high speeds, the lubricant helps to smooth out its movements while the increased tension reduces overturns and improves control so time-saving tricks like corner cutting can be used.Each of the robot’s six servo motors connect to the Rubik’s Cube center squares using a custom-made metal shaft that spins each side. Photo: Matthew Patrohay / Purdue UniversityFaster servo motors do help to reduce solving times, but it’s not as simple as maxing out their speed and hoping for the best. The Purdubik’s Cube uses six motors attached to metal shafts that slot into the center of each side of the cube. After testing several different approaches the team settled on a trapezoidal motion profile where the servos accelerate at speeds of up to 12,000,000 degrees/s2, but decelerate much slower, closer to 3,000,000 degrees/s2, so the robot can more accurately position each side as it comes to a stop.Could the Purdubik’s Cube break the record again? Patrohay believes it’s possible, but it would need a stronger cube made out of something other than plastic. “If you were to make a completely application-specific Rubik’s Cube out of some sort of carbon fiber composite, then I could imagine you being able to survive at higher speeds, and just being able to survive at higher speeds would then allow you to bring the time down.”See More:

Apple's latest research reveals how models made for speech recognition can determine your heart rate by processing phonocardiograms, which could be used in AirPods.Apple could add heart rate detection to future AirPods, building upon their existing health-related features.On Thursday, a week after the company revealed its Humanoid Policy study that deals with robotics, Apple published new research that explores health applications. Specifically, heart rate estimation.In its latest study, titled "Foundation Model Hidden Representations for Heart Rate Estimation from Auscultation," the company's researchers explain how foundation models can be used to determine heart rates from audio recordings, even though they were created with a different purpose in mind. Continue Reading on AppleInsider | Discuss on our Forums

It may be time to suck it up — and we don't just mean the carbon in the atmosphere. No, we're talking about reckoning with the possibility that our attempts at capturing the greenhouse gas to stave off climate disaster are already hopelessly behind schedule, New Scientist reports, if they're not in vain entirely.To illustrate, here're some simple numbers. The CO2 removal industry expects to hit a milestone of removing one million metric tons of CO2 this year. And companies across the globe have bought carbon credits to remove 27 million more, according to data from CDR.fyi cited in the reporting (more on these carbon credit schemes in a moment).That sounds like a lot, but it really isn't. As New Scientist notes, the Intergovernmental Panel on Climate Change — the leading authority on these issues — concluded in a 2022 report that we need to be removing up to 16 billion tons of carbon, not millions, each year to keep the rise in global temperature from exceeding 1.5 degrees Celsius (2.7 degrees Fahrenheit) of warming by the middle of the century, past which the most drastic effects of climate change are believed to be irreversible."It's not scaling up as fast as it would need to if we are going to reach multiple gigatons by 2050," Robert Höglund at Marginal Carbon, a climate consultancy based in Sweden, told the magazine. Carbon capture is not the be-all and end-all. The fact remains that humanity needs to drastically reduce its emissions, which probably means reorganizing society — or at least its energy production and consumption — as we know it. Simply removing the CO2 that's already there is more like a band-aid that buys us a little time; eventually, we'll need to rip it off.For these reasons, some critics fear that carbon capture — and even more drastic interventions, like attempting to dim the Sun — could distract from the climate change's systemic causes. But there's a lot of enthusiasm for the approach all the same, both from scientists and investors. The IPCC acknowledged in its 2022 report that carbon removal was "unavoidable" — as in, essential to meeting climate targets.One popular method of carbon removal is called direct air capture, which involves sucking the carbon straight from the air using massive industrial facilities. A more circuitous approach that's gaining steam involves extracting CO2 out of the ocean, freeing up room for the world's largest carbon sink to passively absorb even more of the greenhouse gas. All of these initiatives, though, are basically just getting off the ground. And the corporate investment, which once promised billions of dollars in cash, seems to be cooling. More than 90 percent of all carbon removal credits sold this year were bought by a single company, Microsoft, New Scientist notes, probably to gloss over its egregious energy bill it's accrued from building loads of AI datacenters.This also touches on the fact that the practice of buying carbon credits can be used as a means of corporate greenwashing. By paying to another firm to "certify" that they will remove a certain amount of carbon at some undetermined point in the future, a company can report a greener carbon balance sheet without actually reducing its emissions.In any case, staking the industry's hopes on corporate munificence is a dicey prospect indeed."I have been raising the alarm for about a year and a half," Eli Mitchell-Larson at Carbon Gap, a UK carbon dioxide removal advocacy organisation, told New Scientist. "If we're just waiting for the waves of free philanthropic money from corporations to fill a hole on their sustainability report, we're not really going to solve the problem."More on climate change: Scientists Just Found Who's Causing Global WarmingShare This Article

Nintendo has predicted it will sell 15 million Switch 2s in its current financial year. Analysts think the number is conservative; Nintendo says the price of the Switch 2 is what’s holding back that estimate. But what does that mean, really? Is it a reasonable target? If Nintendo hits it, does that guarantee the Switch 2 will be a massive hit? If a console sells out at launch, what does that tell us? Is there still a chance of a Wii U-style flop?It’s impossible to know for sure, but a look at all of Nintendo’s past console launches can provide some clues. I’ve dug deep into past Nintendo sales figures to determine which Nintendo consoles enjoyed the best launches. To get a more reliable picture than that initial, almost inevitable sellout, I’ve defined the launch as the console’s first year (or rather, first four financial quarters) on the market.Note that Nintendo only started reporting quarterly sales for its systems in the mid-2000s, and the earliest data is annual at best and hard to come by, so some of these numbers are approximate. Note, too, that older systems had staggered launches across the three major markets (Japan, North America, and Europe), sometimes over several years, slowing down their potential sales.Still, there are some surprising results here that put Nintendo’s 15 million forecast for Switch 2 in context. Selling that many units would definitely not be bad news — but it doesn’t indicate a slam-dunk, either.Image: James Bareham/Polygon1. Game Boy AdvanceFirst four quarters: approx. 18.1 millionLifetime: 81.51 million (5th overall)Release: March-June 20012. 3DSFirst four quarters: 15.03 millionLifetime: 75.94 million (6th)Release: February-March 2011There’s a clear pattern to Nintendo’s two fastest sellers; they were successors to massive hits (the Game Boy and DS) in the handheld market, where Nintendo enjoyed total dominance. Nintendo was so bullish about Game Boy Advance, following the decade-long reign of the Game Boy format, that it forecast an astonishing 24 million sales in its first year, while 3DS followed Nintendo’s biggest seller ever. Both sold well, but neither quite lived up to their forebears.Photo: Nintendo3. SwitchFirst four quarters: 14.86 millionLifetime: 152.12 million (2nd, for now)Release: March 20174. WiiFirst four quarters: 13.17 millionLifetime: 101.63 million (4th)Release: November-December 2006The Switch and the Wii are the only Nintendo consoles with sales over 10 million in the first year and over 100 million in their lifetimes. Quarter for quarter, they both sold incredibly consistently over time. This is surely what Nintendo would like all its hardware launches to look like, and what it’s hoping for with the Switch 2.5. DSFirst four quarters: 8.83 millionLifetime: 154.02m (1st, for now)Release: November 2004-March 2005It’s a surprise DS didn’t launch more strongly, considering the runaway early sales of its handheld predecessor, Game Boy Advance. But its launch games weren’t the best and it took a while for the console’s strange design to find its eventual massive casual audience. In its fifth quarter — holiday 2005 — it suddenly took off.Shigeru Miyamoto proudly regards his purplest child, the GameCube. Photo: Lucy Nicholson/AFP via Getty Images6. GameCubeFirst four quarters: approx. 6.7 millionLifetime: 21.74 million (10th)Release: Sep 2001-May 20027. Nintendo 64First four quarters: 5.80 millionLifetime: 32.93 million (9th)Release: June 1996-March 1997The two Nintendo home consoles made during PlayStation’s ascendency enjoyed reasonably strong launches but petered out due to a lack of software support. GameCube sold 30% of its lifetime total in its first year on sale — an unfortunate achievement that beats even Wii U’s dismal ratio.Photo: James Bareham/Polygon8. Game BoyFirst four quarters: 3.93 millionLifetime: 118.69 million (3rd)Release: April 1989-September 1990The legend of Game Boy is that it was an instant smash, thanks to the high-stakes acquisition of Tetris. But while its launch was healthy for the time, it didn’t begin to indicate what Nintendo’s defining handheld would achieve — sales in the first year (before it reached Europe) were just 3% of what it would go on to sell across Game Boy and Game Boy Color.9. Wii UFirst four quarters: 3.91 millionLifetime: 13.56 million (11th)Release: November-December 2012Nintendo’s most recent (but not its worst) flop actually started quite strongly, shifting over 3 million units in its first quarter — but then suffered a catastrophic drop-off, selling less than 900,000 worldwide during the rest of its first year on sale. Looking past the initial holiday sell-out, the signs of the disaster to come were clear.Nintendo paid tribute to its two trailblazing home systems with the NES and SNES Classic mini-consoles. Image: Shai Ben-Dor/Vox MediaFirst four quarters: approx. 2.9 million (mostly Japan)Lifetime: 49.1 million (8th)Release: November 1990-June 1992 Launch sales: 2.5 million by end of 1984 (Japan only)Lifetime: 61.91 million (7th)Release: July 1983 to 1987 and laterBoth Nintendo’s early home consoles launched strongly in Japan but took a long time to take off in the West. The NES didn’t fully launch in the U.S. and Europe until 1986, amid caution after the 1980s video game crash, while the SNES was beaten to market in the West by the Sega Genesis and suffered as a result. 12. Virtual BoyLaunch and lifetime sales: 770,000Release: July-August 1995You can’t get a worse launch than being discontinued within a year of going on sale!—What does this mean for Switch 2’s launch?If Nintendo meets or exceeds its target of 15 million Switch 2s sold in its first financial year, it will rank among the top Nintendo console launches ever. A Wii U-style flop looks very unlikely, unless sales drop off sharply after its first few months.But the most telling comparisons here are Nintendo’s top two launches: Game Boy Advance and 3DS. Like Switch 2, they were both conservative, easy-to-understand sequels to huge sellers in a market sector Nintendo had total control of. And while both reached respectable lifetime totals, they got nowhere near the lifetime sales of their more innovative predecessors.Could this be Switch 2’s fate? Judging by Nintendo’s launch history, it’s possible — maybe even likely.See More:

Strava drama has become the name of the game in the fitness tracking world. I suppose when your favorite fitness app also includes a social media element, a little tension is inevitable. Add competitive leaderboards into the mix, and you've got a recipe for intrigue that would make reality TV producers salivate.If you're tuned into leaderboard controversies, you'll know that runners and cyclists are deeply divided on whether the platform is doing too much—or not nearly enough—to combat fake entries. If you ask me, when some users are deploying electric unicycles to dominate local climbing segments, that's evidence enough something needs to be done. And now Strava is doing something: The company has announced the launch of AI-enabled Leaderboard Integrity, a new tool intended to separate legitimate athletes from creative cheaters. How Strava is using AI to root out cheatersFor the uninitiated, the reason people cheat is usually to claim King of the Mountain (KOM) and Queen of the Mountain (QOM) titles—coveted crowns that represent the fastest times on specific segments. Peruse the Strava subreddit for a few minutes, and you'll be sure to see grievances about leaderboard cheaters. Strava's latest update is designed to identify and flag "irregular, improbable, or impossible" performance recorded on the platform. The system acts as a digital referee, capable of detecting when an impossibly fast e-bike ride has been mislabeled as a regular cycling effort, then politely prompting users to correct their entries.The technology goes beyond simple speed checks. Strava revealed in February that its machine learning system analyzes activities using 57 different factors, including speed patterns, elevation gains, and acceleration data, to determine when something doesn't add up. The result of this crackdown? Strava has already removed 4.45 million activities from its platform. The deleted activities generally fall into two main categories: entries uploaded with the wrong sport type (like labeling an e-bike ride as regular cycling) and activities recorded while in a vehicle. To be fair, the latter category likely includes everything from users forgetting to stop their tracking while driving home, to more deliberate attempts to game the system by recording car or train journeys as part of legitimate running segments.How Strava users are reactingThe fitness community's reaction to Strava's cheater detection has been characteristically split. Serious athletes and segment hunters generally applaud the stricter measures—after all, leaderboard integrity is what makes the app's competitive element at all meaningful. If the numbers are fraud, what's the point?However, some users worry about false positives—that is, legitimate exceptional performances getting flagged by overzealous algorithms. And the AI is overzealous: Some users have commented that their personal records are being deleted without any sort of prompt or ability to dispute the AI's findings. If you're a serious athlete, seeing your genuinely impressive times being questioned by an automated system that might not account for peak human performance is naturally going to rankle.Outside of leaderboard integrity, Strava's AI initiatives are generally overzealous and inaccurate. I'm not alone in noticing how absurd its new route generation can get. I'm talking routes with concentric loops, cutting through buildings, major roads instead of residential paths, and other issues that will make no sense to a real human moving through the world. Given the immense heat map data that we've all effectively donated to Strava, to be given such shoddy AI-generated routes is fairly bonkers, and it's hardly surprising that its cheat-detecting tools would also be less than precise.The bottom lineControversy aside, Strava's competitive features should be more about personal motivation than serious competition. If cheater detection is ruining your experience, I recommend some perspective. Try not to let it spoil what should be a fun, social fitness experience—especially given the AI tools don't (yet) seem accurate enough to reflect reality.But with 4.45 million activities already in the digital trash bin, Strava's message is clear: The days of easily gaming the leaderboards are over. Of course, as fitness tracking technology continues to evolve, so too will the methods people use to fool the system. Hopefully Strava stays one step ahead of creative rule-benders.