Macworld At a glanceExpert's Rating Pros  Excellent sound quality  Competitive price  Impressive battery life Cons Noise-cancellation could be stronger No spatial audio or Dolby Atmos Our Verdict The noise-cancellation could be a little more effective, but the Px7 S3 provides hi-fi sound quality, along with impressive 30-hour battery life at a much more competitive price than most of its high-end rivals. Price When Reviewed This value will show the geolocated pricing text for product undefined Best Pricing Today Apple made some welcome updates to the AirPods Max in April 2025, finally bringing its (still) overpriced headphones into the era of high-res audio at long last. In the meanwhile, the Hi-Fi experts at Bowers & Wilkins have released the fourth-generation update for their over-ear Px7 headphones, which now come with the slightly ungainly title of the Px7 S3. The U.S. price of the S3 was up in the air because of that little kerfuffle with a worldwide trade war, but the U.K. price was £399 when they went on sale in the U.K. in May, and as of June 2025, you can now buy them on Amazon U.S. for $449. The S3 provides a serious rival to both the AirPods Max and B&W’s own flagship Px8. Unsurprisingly, the Px7 S3 looks quite similar to its predecessors, with the sleek lines and minimalist chic that is the trademark of B&W’s headphone range, along with a variety of tasteful pastel shades that you can choose from. The S3 is even more minimalist than usual, though, as B&W has managed to reduce the thickness of the earpieces for this new model, and has also reduced the weight to just 300g – compared to 386g for the AirPods Max. The earpieces are also padded with memory foam, so the S3 should be light and comfortable enough to wear for long periods of time – and for long journeys too, as it offers an impressive 30 hours of battery life even when using noise-cancellation. The Px7 S3 can work in both wired and wireless modes, supporting Bluetooth 5.3 and the AAC codec for Apple devices, as well as aptX Adaptive and aptX Lossless for our Android friends. There’s no spatial audio at the moment, although B&W has said that it’s developing its own form of spatial audio that will be available via a software update in coming months. The PX range had the ability to use USB-C for charging and wired audio years before Apple added that ability to the AirPods Max, and the USB-C port of the Px7 S3 now supports high-res audio formats up to 24-bit/96KHz – slightly higher than the 24-bit/48KHz of the AirPods Max – so it can handle most of the high-res tracks available on Apple Music. There’s a USB-C cable included, along with a 3.5mm audio cable too, so you can use the wired connection with most computers and mobile devices, and there’s a hard-shell carrying case thrown in for good measure as well. Sound quality is excellent, and the Px7 S3 copes admirably with the heady cocktail of sounds on Ricky Martin’s She Bangs, streamed from Apple Music on my iPad Air. There’s a lot going on in this track with drums and percussion, guitars, horns and tinkling piano all competing for attention, but the Px7 S3 is able to make space so that each instrument remains clear and distinct. It shows a light touch on the rattling percussion that bounces all over the place, and there’s an infectious energy as the horns blare out while Ricky yells – “she looks like a flower, but she stings like a bee!”. The Px7 S3 can handle more delicate sounds too. A recent re-watch of The Last Of Us (episode 3) prompts me to go back to Max Richter’s sublime On The Nature Of Daylight. The cellos open the piece with a gentle, winding melody, but the tone of the strings is so sad and mournful that it’s an instant tear-jerker. The sharper tone of the violins and viola adds to the bittersweet mood, and the Px7 S3 creates a sense of space that allows the different strings to float gracefully through the air and weave a delicate dance around each other. The Px7 S3 is a winner on sound quality and value for money, but one area where more expensive rivals such as the AirPods Max and Bose QC Ultra do still have an edge is the effectiveness of their noise-cancellation features. The Px7 S3 does a good job at blocking low-frequency sounds, such as the drone of an aircraft engine, but higher frequencies, such as the chatter of voices in a busy airport, do still leak through a little. Should you buy the B&W Px7 S3? If you’re obsessive about noise-cancellation then there are more expensive headphones that can block out background noise more effectively. However, the excellent sound quality and impressive battery life of the Px7 S3, make it a great option for anyone that wants a really high-quality set of headphones at a competitive price. We have looked at a number of AirPods Max competitors, see our round up of the Best over-ear headphones.

Skullcandy isn’t a name that usually comes to mind when you think of premium headphones. The Utah-based company has primarily made its name in the budget space, selling more on low prices and loud, sports-heavy marketing than the promise of excellent sound quality. With the new Method 360 ANC, the audio maker is trying to change that by latching onto another brand entirely. Skullcandy proudly boasts that its latest wireless earbuds feature “sound by Bose,” which is to say that Bose has supplied the acoustic tuning, ear tips and overall shape of the device. In fact, the new buds look quite similar to Bose’s QuietComfort Ultra Earbuds from afar. But that upscale pair retails for $299 and the Method 360 ANC only costs $130 (or as low as $100 at third-party stores of this writing). So has Skullcandy managed to capture the best of Bose at a more affordable price? Kind of. Design and features The Method 360 ANC is indeed roughly as comfortable as the QuietComfort Ultra. Each earpiece is slightly heavier and more plastic-y — and Bose’s pair was already on the bulky side — but the soft ear gels and stability fins help them fit snug without creating too much pressure. I had no issues with them coming loose over several weeks of testing. The earbuds have an IPX4 water-resistance rating — not the best, but enough to survive most people’s workouts. The larger frame creates more space for the side touch panels, and all the controls do work reliably, which isn’t a given in the $100 range. These earbuds also come with most of the features you’d want from a modern pair. There are active noise cancellation (ANC) and ambient sound modes. Battery life is fine at eight to 11-ish hours, depending on ANC usage. They can dependably connect to two devices simultaneously, and they work with Google’s Fast Pair tech on Android devices. They support wear detection, too, and there are three different sets of ear gels and fins in the box. Any settings tweaks I’ve made in Skullcandy’s Skull-iQ app have taken effect quickly, and in general the software is easy to navigate. The only major omissions here are the lack of wireless charging and a short one-year warranty. The Method 360 ANC is almost identical to Bose's QuietComfort Ultra Earbuds in terms of design. For this review, we mainly compared the new Skullcandy buds against the QC Ultras and Anker's Soundcore Space A40, the top pick in our budget earbuds buying guide. Jeff Dunn for Engadget Sound quality Once you start listening to the Method 360 ANC, though, you start to see why it’s priced under $150. The default sound signature is extremely V-shaped: The bass is massive, the treble is bright and everything in between is recessed. Bass lovers should appreciate this with hip-hop, dance music and many pop songs. A track like Kendrick Lamar’s “DNA” becomes particularly easy to rock to: The low-end is deep and impactful, while a giant spike around the upper midrange keeps the vocals clear throughout. In general, the Method 360 ANC is a step up from the Anker Soundcore Space A40, the longtime top pick in our guide to the best earbuds under $100. That pair is far more muffled in the treble, whereas the Skullcandy pair’s crisper, more extended highs tend to make songs feel less closed-off. That said, it’s very easy to see how this kind of signature could get fatiguing over time. It’s consistently intense, and the recessed mids cause it to lose details in moderately intricate compositions. An indie rock track like Hop Along’s “The Knock” is a bit of a mess, as the bassline and crunchy rhythm guitar overwhelm the lead guitar riffs and rob the raspy vocals of air. With America’s “Ventura Highway,” the folksy acoustic guitar comes through clearly, but the overemphasized treble makes “ess” sounds a touch too sharp. The QuietComfort Ultra doesn’t exactly sound neutral, but it always comes off as more balanced by comparison. Skullcandy has also omitted support for higher-quality Bluetooth codecs, so it only supports the basic SBC and AAC. All of this is still better-than-average for bassheads shopping in this price range — just don’t expect it to compete very far beyond that. Thankfully, you can rein in some of the default profile’s excesses with a custom EQ in Skullcandy’s app. The charging case is on the larger side, to put it mildly, and uses a sliding mechanism to open and close. Jeff Dunn for Engadget ANC, ambient sound, call quality and one funky case Skullcandy’s ANC is perfectly respectable for $130, and it’s great you can customize the intensity of the noise-canceling effect via the app. But it’s not on the level of the QuietComfort Ultra Earbuds or even the step-down QuietComfort Earbuds. It cuts out a fair chunk of the bassy rumble of an NYC subway train, but higher-pitched screeches and stop announcements are very much audible with music playing at moderate volumes. The “Stay Aware” (ambient sound) mode, meanwhile, is passable but nothing more; it’s one of those deals where you need to keep the volume somewhat low to ensure you can hear yourself clearly. Call quality isn’t great, either: The mic does well to limit background noise, but it struggles with wind and makes your voice sound noticeably thin and processed. My testing partner said it made me sound like I was in an elevator. My biggest complaint, however, is with the ginormous tube of a case. It’s comically large next to pairs like the QuietComfort Ultra or Space A40, so much so that I have to question just how spacious Skullcandy thinks most people’s pockets are. There is a built-in clip that lets you hook the case to a bag or belt loop, but as a resident of New York City, I will never be comfortable sauntering around with anything of value dangling on my person. Actually snapping the earbuds back into the case is cumbersome as well: You have to slide the case open, then flip the earpieces upside down and insert them on opposite sides. I can understand wanting to make something unique, but this is an instance where boring would’ve been better. The Method 360 ANC's case has a built-in clip for attaching to bags or belt loops. Jeff Dunn for Engadget Wrap-up The Method 360 ANC has its problems, but most of them aren’t too surprising for a relatively affordable pair of wireless earbuds (oversized case aside). Don’t be fooled into thinking the Bose branding means you’re getting a Bose-level product — the real-deal QuietComfort Earbuds are better if you’re willing to pay more. But this is still a tier above most budget pairs we’ve tested. It has nearly all the features we’re looking for (unlike, say, the Beats Solo Buds), it’s comfortable and the sound signature will hit right if you’re hungry for bass. At its normal $130, it’s well worth considering for bassheads who can go one rung above the bargain bin. For $100 or less, it’s a great value. Just make room for that case.This article originally appeared on Engadget at https://www.engadget.com/audio/headphones/skullcandy-method-360-anc-review-a-cheaper-version-of-boses-best-earbuds-with-a-few-key-sacrifices-130047025.html?src=rss

We made it, everybody. We’ve reached the end of HBO’s The Last of Us. Wait, sorry, I’m getting word in my earpiece that…we’re only halfway done with it because this show’s going for four seasons. At this point, I’m mostly feeling deflated. Last week’s episode was such a catastrophic bummer that it cemented for me that the show fundamentally misunderstands The Last of Us Part II, the game this season and those that are still yet to come are adapting. But you know how your mother would tell you not to play ball in the house because you might accidentally break the priceless vase on display in the living room? Well, if you’ve already broken the vase, you might as well keep playing ball, so we’ll probably be doing this song and dance into 2029. For now, we’re on the season two finale, which essentially wraps up Ellie’s side of this condensed revenge story and reveals the premise of season three. Most game fans probably assumed this was where the season would end and, if nothing else, it’s still a bold cliffhanger to leave off on.Suggested ReadingNintendo Switch 2 Price Is Set at $450 for Now, But Could Go Higher Share SubtitlesOffEnglishSuggested ReadingNintendo Switch 2 Price Is Set at $450 for Now, But Could Go Higher Share SubtitlesOffEnglishNintendo Switch 2 Price Is Set at $450 for Now, But Could Go HigherGuilty as chargedAfter last week’s flashback-heavy episode, we open on Jesse (Young Mazino) tending to wounds the Seraphites have inflicted on Dina (Isabela Merced), which means we get a real heinous scene of him doing some amateur surgeon’s work to remove the arrow she took to the knee. He douses it in alcohol and offers her a sip to dull the pain, but she staunchly refuses without explaining why. They made Jesse an asshole in this show, but he’s still a smart guy. The gears start turning in his head about why she might turn down a swig right now. Nevertheless, he takes that motherfucker out with no anesthetic, booze, or supportive bedside girlfriend to help Dina through it.Speaking of the absent girlfriend, Ellie (Bella Ramsey) finally returns to their theater base of operations. Now that she’s back, all her concern is on Dina, but Jesse is still wondering where the hell she’s been this whole time. Dina is resting backstage, and even though we only see these details for a few minutes, I once again want to shout out the set designers who recreated this little safe haven, which is covered in old show posters and graffiti from bands and artists that performed there before the cordyceps took over. I’m sure Joel would have loved to have seen it.Dina stirs awake and Ellie checks her wound. Jesse’s effort to wrap the injury leaves a lot to be desired, but it should heal in time. Ellie asks if the baby’s alright, and Dina says it’s okay.“How do you know?” Ellie asks.“I just do,” Dina replies.The one who is not okay in the room is Ellie, who is bleeding through the back of her shirt. Dina helps her undress and starts to clean the scratches on her back. As she does, she asks what happened while they were separated. Ellie says she found Nora (Tati Gabrielle), and she knew where Abby (Kaitlyn Dever) was, but only said two words: “Whale” and “Wheel.” Ellie says she doesn’t know what it meant. It could have been nonsense. She was infected, and it was already starting to affect her cognitive state.“I made her talk,” Ellie whispers. “I thought it would be harder to do, but it wasn’t. It was easy. I just kept hurting her.”Image: HBODina asks if Ellie killed her, but she says she just “left her,” meaning that somewhere in this timeline, Nora is wandering the depths of a Seattle hospital with broken legs and an infected mind. I thought the show couldn’t possibly concoct a worse fate for her than what happens in the game, but they found a way. It takes commitment to put down a character like showrunners Craig Mazin and Neil Druckmann have done for Nora across both video games and television. Personally, I think when you already know that people are wary of the way you treat one of the few Black women in your franchise as if she doesn’t deserve the same dignity as everyone else, maybe you should do better by her when given a second chance, rather than worse. But that’s just me. I’m not the one being paid a bunch of money to butcher this story on HBO Max every Sunday at 9 p.m. Eastern. So what do I know?Maybe this is just part of the contrived sadism the show has attached to Ellie. She thinks violence is easy and it comes naturally to her, so I guess she would beat a woman nearly to death until the fungal infection made her lose her mind. Meanwhile the game version is so traumatized by what she’s done in this moment, she’s practically speechless by the time she reaches the theater. God, I knew this shit was going to happen. Mazin has repeatedly insisted that Ellie is an inherently violent individual, something he’s communicated both in interviews and by having Catherine O’Hara’s Gail, the therapist who tells you what the story is about, say that she’s always been a sadist, probably. Now, when we get to moments like the post-Nora debrief which used to convey that Ellie is Not Cut Out For This Shit, the framing instead becomes “Ellie likes violence and feels bad about how much she likes violence.”Before The Last of Us Part II came out, a lot of Naughty Dog’s promotion for the game was kind of vague and even deceptive in an effort to keep its biggest twists under wraps, and some of the messaging it used to talk about the game’s themes have irrevocably set a precedent for how the game’s story is talked about years later. When the game was first revealed in 2016, the studio said the story would be “about hate,” which paints a much more destructive and myopic picture of Ellie’s journey than the one driven by love and grief she actually experiences through the course of the game.One of the most annoying things about being a Last of Us fan is that its creators love to talk about the series in ways that erase its emotional complexity, making it sound more cynical and underhanded when the actual story it’s telling is anything but. I can’t count how many times I’ve heard people reductively parroting notions that The Last of Us Part II is just about “hate” and “guilting the player” for taking part in horrifying actions when they literally have no choice but to do so, rather than cracking the text open and dissecting that nuance. Mazin’s openly-expressed belief that Ellie is an intrinsically bloodthirsty person similarly bleeds into how a lot of the public perceives her as a character, seeing her as a violent ruffian rather than a grieving daughter who was only ever taught to express her pain by inflicting it on those who made her feel it in the first place. Discussing these games as a fan means having to fight against these notions, but they’re born from a game built on subtext, and thus willingly opens itself to those interpretations.Its willingness to dwell in ambiguity only makes it a more fascinating text to unpack, or it would, if we lived in a world where discussing video games wasn’t a volatile experience in which you constantly run the risk of being targeted for performative online dunks, or running up against rabid console tribalism. Now, the Last of Us show has decided to lean into the most boring interpretation of what this story is about without an ounce of subtlety, nuance, or even sympathy for Ellie’s plight. She is a sadist who does terrible things not simply because she’s grieving her father figure, but because this is just who she is. Mazin has deemed it so, and here we are, and this vision of her will no doubt weave itself into the fabric of how we talk about Ellie Williams, even in the game.This story only has any thematic weight if Ellie’s violent outbursts are rooted in pain, not pleasure. Yeah, what we’re seeing in the show is her acting from a mix of those things but, in the game at least, the most affecting moments of Ellie’s Seattle revenge tour happen when she has to confront how she is not built for acts of violent excess in the same way Joel was. She never has been. Back in Part I, she was sick to her stomach when she committed her first kill to save Joel, and the entire point of Part II was that we see her cut off parts of herself to do what she feels she must, only to find that she’s unable to recognize herself when it’s all over. In the show, she is instead mesmerized by carnage, only to decide she doesn’t like that she feels that way, actually. But all this self-reflection is fleeting, because she’s only killed one person on her list, and there’s a lot more work to do. How many Joels is Nora’s life worth to Ellie? One-fifth?While Ellie is wrestling with these feelings, Dina is about to see things with more clarity than ever. At first, she says that Nora may have deserved this fate worse than death, to which Ellie says “Maybe she didn’t,” before telling her girlfriend everything. She tearfully recounts Joel’s massacre of the Fireflies at the base in Salt Lake City, how the group was going to use her immunity to create a cure, and how Joel killed Abby’s father to save her. Dina puts it all together and asks Ellie if she knew who Abby’s group was. She says she didn’t, but she did know what Joel did. Dina sits with that for a moment, then flatly says the group needs to go home.So I guess this is how the show gets Dina, who’s been pretty revenge-hungry thus far, back onto the track she’s on in the games. Without spoiling scenes in the late game for the uninitiated, some major points of conflict at the end of Part II require her to be less on-board with Ellie’s vendetta, so the fact that she’s been egging her girlfriend on to track down Abby was an odd choice. I wasn’t sure how the show would handle it down the line, but it seems the way HBO’s show has course-corrected was by having her condemn Joel’s actions. Dina had her own relationship with the old man in the show, so I imagine that in a later season she’ll interrogate how she feels about him in light of this new information, but having her more or less get off the ride when she learns what Joel has done sets up a contrast between her and Ellie that I’m curious to see how the show handles.The shame of it, though, is that this is just one more thing that undermines one of the core foundations of the source material, and I have to get at least one more jab in on this topic before we end the season. In The Last of Us Part II, when you look at what is actually expressed in dialogue, you see that characters are often lacking important information about each other. This lack of communication is an important part of its storytelling, but the show is instead having characters tell everyone everything. In Part II, Joel and Ellie don’t know who Abby’s father was. It’s strongly implied that no one other than Joel, Ellie, and Tommy knew about what happened in Salt Lake City, not even Dina. The more the show bridges these gaps of communication, the more senseless this entire tit-for-tat feels. To be clear, it was senseless in the game, but it was in a tragic, “these people are so blinded by their emotions that they can’t fathom another path forward” sort of way. This time around, everyone knows exactly what’s happening and chooses to partake in violence anyway. We don’t have any mystery or lack of communication to fall back on as a we struggle to understand why the characters keep making these self-destructive decisions. Everyone is just knowingly the worst version of themselves this time around, and I guess Mazin thinks that’s the point, which is the kind of boring interpretation that makes the show such an inferior version of this story.Family mattersWe now begin our third day in Seattle. Ellie and Jesse are packing up to get going in the theater lobby. The plan is to find Tommy (Gabriel Luna) somewhere in the city and then head back to Jackson. However, Jesse is a lot less talkative this morning. Dina limps into the lobby, and after a brief scolding for being on her feet, she gives Ellie a bracelet for good luck.“I’m not sure it’s been working for you,” Ellie jokes.“I’m alive,” Dina replies.Jesse is clearly uncomfortable watching his ex (or are they technically still together now? I’m not sure) give Ellie a prized possession, and says he can go alone if Dina wants Ellie to stay. Ellie says they’ll be safer together. Jesse relents and says they should be back by sundown. The tension is radiating off him, but the pair leaves Dina in the safety of the theater.Image: HBOEllie and Jesse awkwardly walk through the remains of Seattle. She finally breaks the silence by asking how he found Ellie and Dina’s theater base. He recounts his two days of tracking, giving a shoutout to the horse Shimmer who’s still vibing in the record store the girls left her at, but he’s clearly pissed. Ellie assumes it’s because he and Tommy had to cross state lines to come find them, but no, there’s something else on his mind. Why do Ellie and Dina look at each other differently? Why did Dina turn down a free drink for the first time in her life? He’s putting it all together. Dina and Ellie are no longer just gals being pals, and his (now ex?) girlfriend is pregnant.“None of this has to change things between us,” Ellie says.“Everything changing doesn’t have to change things?” Jesse asks. “Well, how about this for something new: I’m gonna be a father, which means I can’t die. But because of you, we’re stuck in a warzone. So how about we skip the apologies and just go find Tommy so I can get us and my kid the fuck out of Seattle?”Wow, okay. Judgey, much? I mean, you’re right, Jesse. This is a no good, very bad situation, and Ellie has put your kid in danger and won’t even tell you she was torturing a woman last night. But god, I miss kindhearted Jesse. I miss Ellie’s golden retriever best friend who, when finding out Dina was pregnant, firmly but gently told Ellie it was time to get the fuck out of Seattle. Now that the show has created a messy cheating love triangle out of these three, I’m once again reflecting on how The Last of Us Part II could have very easily made this storyline a dramatic, angry one, and instead it was one of the brighter spots in a dark tale. Meanwhile, in the show, the whole thing feels like it’s regressed to a rote and predictable earlier draft of the story that’s much less refreshing and compelling than the one we already know. Justice for Jesse. This is character assassination of the goodest boy in all of Jackson. Well, actually, that’s Abby’s job. Sorry, sorry. That’s actually not for another 35 minutes.As the two move further into the city, they see more art praising the Seraphite prophet on the buildings, but she looks notably different than in images we’ve seen previously. This art depicts a Black woman, whereas others have typically portrayed the prophet as white. Ellie wonders aloud if there’s “more than one of her.” Jesse says it’s possible, but ushers her forward as rain starts pouring down. I’m curious what the show might be doing here, as this is a divergence from Part II. Could the Seraphites be a kind of polytheistic group in the show that follows multiple prophets? Could they believe the Prophet was reincarnated into a different woman at some point? All we can do is theorize, but we haven’t seen much of the Seraphites this season so we don’t have much to go on. Which is by design, and feels pretty in-line with Part II, which didn’t tell you much about the group during Ellie’s three days in Seattle. We’ll pick this thread back up next season, I’m sure.The pair takes shelter but before they can catch their breath, they hear the popping sound of gunfire nearby as a W.L.F. squad corners a lone Seraphite. Ellie and Jesse watch in horror as the wolves strip and drag him away. Just as Ellie nearly gets out from cover to intervene, Jesse pulls her back. Once the coast is clear, Ellie walks away in a huff. As Jesse follows, he points out that they were outnumbered and would have lost that fight.“He was a fucking kid!” Ellie shouts.“Ellie, these people [are] shooting each other, lynching each other, ripping each other’s guts out,” Jesse says. “Even the kids? I’m not dying out here. Not for any of them. This is not our war.”Who the fuck is this man? I touched on it in episode five, but what is with this show putting all of Ellie’s unlikable traits on other characters so she keeps getting to be the hero? Jesse turns from a selfless guardian into a selfish asshole who will watch a kid get tortured to save himself while Ellie is suddenly very concerned about a war that, in the game, she seemed largely indifferent to. It’s as if The Last of Us’ second season is so concerned with us liking Ellie and feeling like we can root for her that it’s lost sight of anything else.So Jesse gets to be the belligerent asshole and Dina gets to be the revenge-driven one in the relationship. Ellie? She’s just bee-bopping through spouting cool space facts, and so when she tortures Nora, it feels like tonal whiplash. I don’t recognize Jesse. Most of the time, I don’t recognize Ellie. But really, the more I watch this show, the more I hardly recognize anyone, and I don’t have any faith in the series to figure these characters and their relationships out, even if it’s going to go on for two more seasons.Will the circle be unbroken?We shift away from the Jackson crew to check in on Isaac (Jeffrey Wright), who we haven’t seen in a few episodes. Sergeant Park (Hettienne Park) updates the W.L.F. boss that the incoming storm will get worse as the day goes on, but even so, the group is still preparing some kind of operation. She also lets him know the rank and file is a little nervous about whatever’s going on, but Isaac’s only concerned about one person: Abby. From the sound of it, she and most of her crew have all disappeared over the past few days. We’ve seen what happened to Nora, Manny is still around, but Owen and Mel are gone without a trace. Again, Isaac isn’t concerned with them. He’s nervous that they’re going into whatever operation they’re planning without Abby. Park is clearly exhausted by this lane of thinking and asks why he cares so much about the girl.Image: HBOShe starts off asking why one “great” soldier is so important when they have an army, and then gets into a weird aside where she exasperatedly asks Isaac if he’s harboring feelings for the girl when he’s at least 30 years her senior. I don’t know if this line is supposed to be a joke, but it’s not funny, even though Isaac laughs at it. She acknowledges it’s an out-of-pocket question, but says he “wouldn’t be the first old man” to make decisions based on such inappropriate impulses. As much as it’s a stupid thing for Park to say, it’s also a stupid thing for the writers room to nonchalantly whip out in a humorous fashion given The Last of Us’ history of old men preying on young women with the character of David. Why write this non-joke into your script if you don’t want viewers to possibly view his fixation on Abby as potentially untoward? Isaac’s following speech focuses on the preservation of his militia, in a very similar way to how David’s preoccupation with Ellie in season one was born from the cannibal’s warped views on longevity, and if you’re not trying to make this direct connection, why even gesture at it? Yeah, I don’t imagine anyone considered the optics of this obviously flippant, throwaway line, but Christ, if you’re that desperate for a joke or moment to cut the tension, this was the best you could come up with? Amateur shit.Isaac sits Park down and tells her why he cares so much about one soldier. He says there’s a very strong chance that the W.L.F. leadership will be dead by tomorrow morning. If that happens, who can lead the militia in their stead? He wanted it to be Abby. It was “supposed” to be her.“Well she’s fucked off, Isaac,” Park says as she leaves. “So maybe it wasn’t.”We go back to the Jackson crew as Ellie and Jesse reach the rendezvous point in a bookstore, and Tommy isn’t here. The place is in bad shape like most places are in this city, but Ellie gravitates to the children’s books section. She picks up an old Sesame Street book, the Grover classic The Monster at the End of This Book, and picks it up for the bun in the oven as Jesse says she picked a good one. As the quiet creeps in on the two, Ellie tries to break the silence by clarifying what happened, but Jesse says they have enough problems for the moment, so he wants to bury the issue.He says he loves Dina, but not in the same way Ellie does. He remembers a group that passed through Jackson, and how there was a girl he fell hard for. She asked him to leave with her to Mexico, but he declined because he’d found purpose and community in Jackson, and he was taught to put others first. People look to him to become the “next Maria” and lead the town, and he couldn’t abandon them for a girl he’d known for two weeks, even if she made him feel things he’d never felt before.Ellie immediately sees through this story. It’s not about him pointing out how he’s felt love and knows that he and Dina aren’t the real deal; it’s about how she’s putting her own needs and wants ahead of everyone else’s.“Okay, got it,” Ellie says. “So you’re Saint Jesse of Wyoming, and everyone else is a fucking asshole.”“You can make fun of me all you want,” Jesse responds. “But let me ask you this, Ellie: If I go with that girl to Mexico, who saves your ass in Seattle?”Before she can reply, they hear W.L.F. radio chatter about a sniper taking out a squad and assume it’s gotta be Tommy. The two head out to higher ground to get a better look, and Ellie sees a Ferris wheel in the distance. She finally puts Nora’s final words together: Abby is in the aquarium at the edge of the city. Immediately, her focus shifts away from Tommy as she starts trying to figure out how to reach Abby’s apparent hiding spot. Jesse is confused and says that Tommy’s got the W.L.F. pinned down in the opposite direction. Ellie starts coming up with justifications for her plan. They don’t know if that’s actually Tommy. If it is him, he’s got the group pinned down. Either way, he would want her to go after Abby to avenge Joel. Ellie doesn’t understand why Jesse is so against this. He voted to go after Abby’s crew back in Jackson, right?Image: HBONo, actually. He didn’t. He believed this vendetta was selfish and “wasn’t in the best interest of the community.” That sets Ellie off.“Fuck the community!” she screams. “All you do is talk about the fucking community, you hypocrite. You think you’re good and I’m bad? You let a kid die today, Jesse. Because why? He wasn’t in your community? Let me tell you about my community. My community was beaten to death in front of me while I was forced to fucking watch. So don’t look at me like you’re better than me, or like you’d do anything differently if you were in my shoes, because you’re not, and you wouldn’t.”Jesse takes a beat, then tells Ellie he hopes she makes it to the aquarium as he leaves. While this scene does exemplify the show’s typicalal “no subtext allowed” approach to writing that I find so irksome, the storyline of Ellie feeling ostracized by the people of Jackson while constantly being told that she must make compromises for them even as they are incapable of extending the same to her is one of the few embellishments The Last of Us makes that resonates with me. It’s easy to write off Ellie’s revenge tour as a selfish crusade that puts everyone else in harm’s way, but when she’s also one of the few out queer people in a town that mostly coddles bigotry and she’s being constantly belittled and kept from doing things she wants to do like working on the patrol team, why would she feel any kinship to this community? Now, when she’s so close to her goal that she can almost taste it, Jesse wants her to consider the people of Jackson? Why should she do that? They’re hundreds of miles away, and the only people who came to save her and Dina were the ones who already cared about her. Ellie’s disillusionment with her neighbors is one of the few additions to the story that The Last of Us manages to pull off.Ellie reaches the harbor from which she can use a boat to reach the aquarium and finds several Wolves meeting up on vessels heading somewhere off the coast. Isaac is here leading the charge, but it’s unclear where they’re going or what they’re doing. Game fans have the advantage of knowing what’s going on, but the W.L.F. storyline feels underbaked in this season, which is one of the real issues with the show dividing the game’s storyline into multiple seasons. During this section of the game, you get a sense that there’s an untold story happening in the background, and you can learn more about it through notes you can find in the environment and ambient dialogue from enemies. The show doesn’t have those same storytelling tools, so I wouldn’t be surprised if newcomers felt a little disoriented every time we hopped over to Isaac.Once the W.L.F. forces make their way wherever they’re going, Ellie finds one of the spare boats and starts to make her way to the aquarium. The storm is hitting hard, though, and the tide is not on her side. A giant tidal wave knocks her out of the boat and into the sea. (Good thing you learned how to swim, queen.) As she washes up onto the shore, Ellie hears Seraphites whistling as a group of them descends upon her. She’s too weak to get onto her feet and run, so the cultists grab her and carry her to a noose hanging from a tree in the woods. She screams that she’s not a Wolf and that she’s not from here, but they don’t listen. As they wrap the noose around her neck and start to hoist her upward, a horn sounds off in the distance. The lead Scar says to leave her, their village is in danger, so I guess that’s what the W.L.F. operation is targeting? This concludes our latest little exposition detour, as Ellie gets right back into the boat to the aquarium.Image: HBOShe manages to reach the building and finds a broken window through which to enter. Inside, she finds several makeshift beds. Whatever Abby’s doing here, she’s not alone. As Ellie makes her way deeper into the aquarium, she finds a ton of medical supplies, including bloody bandages and surgical equipment. Was Abby injured? Is that why she’s been missing in action as the W.L.F. undergoes a huge, all-hands-on-deck mission? Who’s to say?Quick sidenote: When Ellie infiltrates the aquarium in the game, she’s attacked by a guard dog named Alice. The W.L.F. used trained canines in their war against the Seraphites, but that element has been notably absent from the show. Between this and sparing Shimmer from her explosive fate, The Last of Us has been toning down the animal murder.Ellie keeps walking through the desolate aquarium and eventually finds fresh footsteps. She follows them and soon finds their source: Abby’s friends Owen (Spencer Lord) and Mel (Ariela Barer). The two are arguing about something, though it’s not clear what. Owen wants to go somewhere behind enemy lines, even in the midst of the battle Isaac has just initiated. He says he doesn’t have a choice because “it’s Abby.” Mel says he does have a choice and so does she, and the Abby of it all is why she’s not going along with whatever the plan is. Owen says he’ll do it on his own, and if Mel’s still here when they get back, she can “keep going with [them].” Either way, Owen’s leaving. Mel let’s out a hearty “fuck you, Owen” before realizing that Ellie is there. Sure seems like there’s a whole other story that’s been going on while we’ve been hanging out with Ellie, huh? I wonder if we’ll ever get any further insight into whatever this is. Perhaps in a season entirely dedicated to the other side of what’s going on in Seattle? Maybe in a couple years it might premiere on HBO Max (or whatever it’s called by then)? That would be something!Ellie holds the two at gunpoint and tells them to put their hands up. When she asks where Abby is, Owen realizes who she is and points out that he was the one who kept her alive. Ellie isn’t swayed by this, so he says they don’t know where Abby went. But, of course, they were just talking about her, so Ellie knows that’s not true. She spots a map on the table and decides to pull out an old Joel Miller standard: She tells Mel to bring her the map and point to where Abby is, saying that next she’s going to ask Owen the same question, and the answers had better match. Owen looks at Mel and says that Ellie will kill them either way, so there’s no reason to comply. Ellie says she won’t because she’s “not like” them. When she crosses state lines to torture and kill someone who killed somebody important to her, it’s very different than when they do it, of course.Owen stops Mel from grabbing the map by saying he’ll do it. He slowly turns to the table, but instead of picking up the map, he grabs a handgun stowed under it. Ellie is quick with her trigger finger and shoots him right in the throat. The bullet goes straight through him, and hits Mel in the neck as well. She falls onto her back and, instead of cursing Ellie, she asks for her help. Not to save her life, but someone else’s. She opens her jacket to reveal her pregnant belly, and asks if Ellie has a knife to cut the baby out of her before she dies. Ellie is in shock and doesn’t know what to do. Mel tells her she just needs to make one incision. That isn’t enough direction, and Ellie panics. She doesn’t know how deep or which direction to cut. As Mel starts to become delirious, she repeats “love transfers” and then asks Ellie if the baby is out. But she hasn’t even made one cut. Mel finally drifts off, and Ellie realizes it’s too late. She sits there until, eventually, Tommy and Jesse find her. Tommy attempts to comfort her, but she’s in shock and doesn’t speak. Finally they leave and head back to the theater.Naughty Dog / Cinematic GamingWhy can’t this show stop giving the audience outs to not turn against its leads? The death of Mel, specifically, feels like the show bending over backward to teach Ellie a lesson without laying blame at her feet. Mel’s death here is an accident. She’s an innocent bystander who dies because Owen and Ellie made choices, and she was, quite literally, caught in the crossfire. In Part II, by contrast, Mel “shot first.” Well, she tried to stab Ellie, but that doesn’t have the same ring to it. Ellie reacts in self-defense and stabs her right back, but she did it fully knowing she was about to send Mel to an early grave. The gut punch Ellie feels upon learning that she’s pregnant is a moment of dramatic irony, because the game’s shifting perspectives had already revealed her pregnancy to the player way back in the opening hours. So when you’re slamming the square button to fight back, you know that Mel isn’t the only one about to reach her untimely end. Here, she doesn’t even get that moment of agency to fight to protect herself. She’s just collateral damage. It’s a small but important distinction. At this point in the show, Mel’s only real trait is a clear distaste for Abby’s violence, and now, when she finally shows up again, she’s just an unintended victim of Owen pulling a gun on Ellie. Sure, season three will fill in those gaps, but the end result will be the same. Mel died not because she was fighting back, but because she was an inch too far to the left.Then there’s the matter of her pregnancy. Again, in the game players already knew about this by the time Ellie reached the aquarium, while the show kept it secret until the end. It’s hard not to see this last-minute reveal as a knife being twisted for shock value, but that’s only half the problem. My friend Eric Van Allen (co-host of the Axe of the Blood God podcast) would often joke with his college friends about how Michael Caine’s characters in Christopher Nolan films so often show up just to tell you, the viewer, in very literal terms what the story is about. Throughout most of this season, Gail has been this character, the one burdened with the heavy task of diegetic literary analysis, but Mel’s delirious “love transfers” line may be even sillier than anything Gail spouts; homegirl is bleeding out and telling Ellie that pain is not the only thing we inherit from our parents? Just one week after Joel tearfully told Ellie that he hopes she does better when she has a kid than he or his abusive cop father did?Perhaps in a show that hadn’t already spent two seasons using literalism as a writing crutch, Mel speaking her final hopes for her unborn child might have landed for me. But I think I’m just too jaded towards it now for even what should have been a genuine expression to feel like anything other than a heavy-handed, patronizing declaration of what lessons I’m supposed to take away from the story. I don’t think characters overtly communicating their beliefs and feelings about a situation is an inherently poor way of writing dialogue. In fact, some of my favorite works have managed to execute this well thanks to strong acting and stories that lent themselves well to this style of writing. The Last of Us, a series that often relishes in grounded dialogue that forced you to read between the lines and unearth that meaning yourself, the Last of Us show’s inability to let nearly any emotion, belief, or theme go unspoken feels so contrived and tiresome that even someone expressing something thematically resonate feels like being told what to feel. Mel uses her last words to tell me the themes of the story. Just in case I forgot. Thank you, Last of Us show, I don’t know how I would have ever understood your thematic richness if you didn’t make your characters tell me about it, even in their death gasps.The group makes it back to the theater and Ellie is still in shock, so much so that she doesn’t even look at Dina as she enters the building. Some time passes, and Tommy and Jesse are mapping out their route home on the stage. The storm is still pretty rough, so they’ll stay overnight and hope the sun is out when they wake up. Ellie finally joins the group, and Tommy reassures her that Mel and Owen played their part in Joel’s death, and they made the choices that brought them to that fateful end. Ellie can only fixate on what she didn’t get to do.“But Abby gets to live,” she says.“Yeah,” Tommy responds. “Are you able to make your peace with that?”“I guess I’ll have to,” she says, defeated.She looks to Jesse, who won’t even look up at her. Tommy realizes they might have something to talk about and walks to the lobby to pack. After some awkward silence, Ellie thanks Jesse for coming back for her, even though he had no reason to after the way they clashed.“Maybe I didn’t want to,” he says. “Maybe Tommy made me.”“Did he?” Ellie asks.After a second of contemplation, Jesse drops the act and says, “No.”“Because you’re a good person,” Ellie responds.“Yeah,” Jesse agrees. “But also the thought did occur, that if I were out there somewhere, lost and in trouble, you’d set the world on fire to save me.”Ellie says she would, and the two finally see one another, even if just for a moment. Jesse acknowledges that Ellie’s vendetta isn’t entirely selfish, and that when it comes to defending the people she cares about, dead or alive, you won’t find someone more loyal in all of Jackson. It’s good that they finally had this moment of connection after all this drama. But damn, I miss Ellie and Jesse being bros, and I miss her giving him shit for being a sap in these final moments. But most of all, I miss that dopey good ol’ boy with a heart of gold saying his friends “can’t get out of their own damn way.”All that understanding is short-lived, as the two hear some ruckus in the lobby, grab their guns, and book it to the entrance. The second Jesse opens the door, bam. A gunshot rings out in the lobby, and he is on the floor. We don’t even see that it was Abby who fired it until after we get a gnarly shot of him with his face blown open. He’s gone. It was instant. The Last of Us Part II tends to draw out death. It’s either long and torturous like it was for Joel or Nora, or it’s short like Owen’s and Mel’s, but in any case, the game typically lingers on the fallout for a bit. Jesse’s death, by contrast, happens so fast that you can’t even process it before you have to deal with the situation at hand. The show follows suit, and it’s recreated practically shot for shot. But that’s hardly the most disorienting (complimentary) thing that happens in these final minutes.“Stand up,” Abby growls forcefully from the other side of the desk Ellie has taken cover behind.She repeats herself: “Stand. Up. Hands in the air or I shoot this one, too.”Ellie can see Tommy on the ground with a pistol aimed right at his head. He tells Ellie to just run, but she tosses her gun where Abby can see it and crawls out from cover. Abby recognizes her immediately. Ellie asks her to let Tommy go, to which Abby replies that he killed her friends. Ellie says no, she did.“I was looking for you,” Ellie says. “I didn’t mean to hurt them. I know why you killed Joel. He did what he did to save me, I’m the one that you want. Just let him go.”Naughty Dog / VGS - Video Game SophistryHm. Okay. We’re almost at the end. I gotta get another little quibble in before the curtains close. I mean, come on, we’ve been through seven episodes of me complaining together. You can’t take one last gripe? This line from Ellie is slightly altered to account for the fact that she knows more about Abby in the show than in the game, and it means we miss one of the most important subtle interactions in all of the story. As I mentioned earlier, Ellie doesn’t know anything about Abby’s father in Part II. She assumes that Abby killed Joel because he took away any chance of the Fireflies developing a cure, so she cites that in this high-stakes moment. The original line is almost identical to the one in the show, but instead, Ellie says “there’s no cure because of me” and suggests that killing her would be the extension of Abby’s presumed vendetta. Then, we get some incredible, subtle acting from Abby actor Laura Bailey, who hears what Ellie’s saying, has a brief moment of angry disbelief on her face, and then scoffs under her breath before picking right back up where she left off. In just a few seconds, you see Abby realize that, after everything, these fuckers have no idea how much pain she’s been through over the past five years. But they’re not worth the breath it would take to explain herself. They don’t deserve to know the man her father was and what he meant to her. All that matters right now is that Ellie pays for what she’s done.Abby still views herself as the righteous one here, as she points out that she let Ellie live when she did not have to do that. It turns out that Ellie wasn’t deserving of her mercy, that she squandered it by killing her friends. Part of me has wondered if all the exposition-heavy dialogue in this show, such as Dever’s villain monologue in episode two before she murdered the shit out of Joel, was written to give its actors more words to say in front of a camera. When you’ve got big names like Kaitlyn Dever, Catherine O’Hara, and Pedro Pascal in your cast, you don’t want them to not talk, right? But all these elongated exchanges have also robbed actors like Dever of those subtle moments. Hell, she led an entire film with next to no dialogue in 2023’s No One Will Save You, and was great in it, so she has the chops to pull off that kind of acting. Communicating something through body language and expression is just as powerful as a poetic piece of dialogue (or in this show’s case, the most literal, unpoetic dialogue a person can fathom), but this show rarely, if ever, understands that.Image: HBOAnyway, Abby says that Ellie wasted the chance she was given when the ex-Fireflies spared her, and points her gun right at Ellie. We hear a bullet fire and Ellie shouts before a hard cut to black. But wait. That’s the season finale? You expect us to wait for two years, probably, to find out what happened? Well, about that. You will probably have to wait even longer.We do have one more scene this season, however: a flashback. We see Abby lying down on a comfy couch with an unfinished book resting on her stomach. She’s in a deep sleep before Manny (Danny Ramirez) loudly enters the room and wakes her up. He says Isaac wants to see them, and she stirs awake. She gets up and walks out of this cozy living space and into a giant football stadium. The entire field has been repurposed for agriculture, manufacturing, and housing. Abby takes a second to look at the whole operation before heading to Isaac’s, but the camera lingers over the field as bold white text flashes on the screen: Seattle, Day One.Alright, TV newbies, welcome to the second divisive twist of The Last of Us Part II. In the game, the player goes through Ellie’s three days in Seattle, killing Abby’s friends and mostly ignoring the war between the W.L.F. and the Seraphites. Meanwhile, Abby has been kind of an enigma the whole time. Every time Ellie finds a new lead, Abby has already come and gone. When Abby finally shows up at the theater for another round of vengeance, it’s clear that a lot of the story happening in this game has happened off-screen. That’s because you’re about to see an entirely different perspective on the last three days, and you’re going to play as Abby when you do it.As you can imagine, this shit drove some players nuts at the time, and you’ll still find angry people online complaining about it to this day. For all my problems with this season, I have to commend the show for actually going for it. HBO has taken the coward’s route in adapting this story for so long, it’s almost surprising that it’s ending here and, from the sound of it, season three will be entirely about Abby and what she’s been doing these past three days. It’s very likely we won’t see Ellie again until next season’s finale after we’ve followed Dever’s character for several episodes. Despite some ham-fisted attempts by the show to build sympathy for Abby early on, it seems like swaths of TV newbies still demand blood. Will viewers complain for an entire season as Dever takes on the lead role? I’d like to think they won’t. I hope that new audiences are more open to her than the worst people you’ve ever met were when the game launched.Despite all the golf club swings I’ve taken at this show, I’m looking forward to examining it further as HBO rolls out the next two seasons. The Last of Us Part II is one of my favorite games of all time, but I genuinely fucking hated The Last of Us’ second season. I don’t expect my feelings to improve in season three. At this point, the rot of Mazin’s poor creative decisions runs too deep for the show to be salvaged and reach the highs of the games. But if nothing else, it’s been a rewarding ride. Thank you for joining me on this seven-week journey. I think I’m due for a replay of The Last of Us Part II to wash off this stink. This shit was ass, HBO. I’ll see you in the ring again next time.

Pros Long battery lifeExcellent displaysAffordable Cons Average performanceMediocre camerasUnimpressive software update commitment Motorola Razr (2025) Specs Battery Life (As Tested) 21 hours, 35 minutes Camera Resolution (Rear; Front-Facing) 50MP, 13MP; 32MP CPU MediaTek Dimensity 7400X Dimensions 3.47 by 2.91 by 0.62 inches closed, 6.74 by 2.91 by 0.29 inches open Operating System Android 15 Screen Resolution 2,640 by 1,080 pixels Screen Size 6.9 All Specs Table of ContentsDesign: Elegant and PocketableDisplay: Fun and BrightPerformance: Passable for the PriceBattery: Better Than Most Non-Flip PhonesConnectivity: A Fine 5G RadioAudio: Loud EnoughCameras: Fun to Use, But Low QualitySoftware: More Support, Please The 2025 Motorola Razr ($699.99) is an attractive and feature-rich folding phone that keeps its price in check by dialing back some of the specs available to its high-end stablemate, the $1,299.99 Razr Ultra. Its inner and outer displays are bright and useful, its compact clamshell design slides comfortably into your pocket, and its long battery life helps get you through the day. But it isn't very powerful, its cameras are so-so at best, and its AI tools aren't the smartest. It's a decent option for those who specifically want a folding phone without spending a fortune, but you can get a lot more bang for your buck with a traditional slab phone like the $799.99 Samsung Galaxy S25 or even the $499 Google Pixel 9a.Design: Elegant and PocketableAll three phones in the 2025 Razr lineup share basic design cues. They all feature an aluminum frame, rounded corners, an external display that's visible when folded, and a selection of several colors. The entry-level Razr is available in Gibraltar Sea (deep blue), Lightest Sky (flecked white), Parfait Pink, or Spring Bud (bright green). I received the Lightest Sky model for review. (Credit: Sarah Lord)The Razr measures 3.47 by 2.91 by 0.62 inches when closed and 6.74 by 2.91 by 0.29 inches when fully open. It weighs 6.63 ounces, matching the size and weight of last year’s model almost exactly. The phone fits nicely in my hand in both its open and closed positions. It’s also incredibly pocket-friendly. I loved being able to slip it into my back pocket without worrying if the top of the phone was sticking out. (Credit: Sarah Lord)The power and volume buttons reside on the right side of the phone. The buttons feel solid and make an audible clicking sound when pressed. A fingerprint reader is embedded into the power button for biometric security. You can use facial recognition via the selfie camera. Both work well, though the fingerprint sensor is more secure. The SIM card slot is on the left side of the phone, while the USB-C port and speaker grille are located on the bottom edge. A little more than half of the rear panel is covered in the white speckled plastic of the Lightest Sky color. It does a good job of keeping fingerprints at bay, but is a little slippery to hold. The color extends about a centimeter above the hinge, before giving way to the external display, which is protected by Corning Gorilla Glass Victus. The display remains dark when the phone is open, giving the back a black-and-white color scheme. Two round camera cutouts and a small flash protrude from the top of the phone when it’s opened. The display wraps around the cameras, which gives the handset an elegant appearance, especially when folded.(Credit: Sarah Lord)The titanium center hinge is strong, with minimal creasing visible on the display. You can still see it when the screen is dark, but it isn't disruptive. The hinge is smooth and rated for more than 200,000 opens and folds.(Credit: Sarah Lord)Motorola has made all of its flip phones more durable. Every phone in the 2025 lineup, including the entry-level Razr, has an IP48 rating, which means it is dust-resistant and can withstand temporary submersion in water. Display: Fun and BrightThe 2025 Razr's outer display remains unchanged from the 2024 version. It's a 3.6-inch pOLED screen with a resolution of 1,056 by 1,066 pixels for a pixel density of 413 pixels per inch (ppi). The refresh rate remains at 90Hz, with a touch response rate of 120Hz. The screen reaches a peak brightness of 1,700 nits. Meanwhile, the $999.99 Razr+ and Razr Ultra share a 4.0-inch outer display with a resolution of 1,272 by 1,080 pixels, for a density of 417ppi. The screen has a refresh rate of 165Hz with a touch response rate of 120Hz. The outer display on the Razr+ reaches a peak brightness of 2,400 nits, while the Ultra hits 3,000 nits. (Credit: Sarah Lord)The Razr's 6.9-inch inner display is similar to last year’s model. It has a resolution of 2,640 by 1,080 pixels for a density of 413ppi. The foldable AMOLED panel has a refresh rate of 120Hz and a touch response rate of 220Hz. It reaches a peak brightness of 3,000 nits. The company includes a built-in screen protector that the phone reminds you constantly not to remove. It's hardly visible, doesn’t bubble, and should hopefully remains in place for the lifetime of the phone. If it doesn’t, the company requires an authorized Motorola dealer to install a new one. A small, circular cutout at the top of the display signifies the selfie camera.The Razr+ has an almost identical display, with the same size, resolution, pixel density, and peak brightness levels. The only difference is that it has a slightly higher refresh rate of 165Hz. The Razr Ultra's screen is bigger, sharper, and brighter than any of the others at 7 inches, 2,992 by 1,224 pixels, 165Hz/300Hz refresh and touch response rates, and 4,500 nits of peak brightness. (Credit: Sarah Lord)I was easily able to view the Razr's display under direct sunlight. The outer display might be a smidge shorter than the Razr+ and Ultra, but it is just as useful. Performance: Passable for the PriceThe Razr is powered by the MediaTek Dimensity 7400x system on a chip, which uses a 4nm process and comes with a Mali-G615 GPU and a sixth-generation NPU. It is available in a single configuration with 8GB of RAM and 256GB of storage. There's no microSD card slot, so if you need more storage space, you’ll have to step up to the much more expensive Razr Ultra, which is available in a 512GB model. The phone generally performs well with daily tasks, even when running multiple apps at the same time. Once in a while, I noticed short delays when switching between apps, but nothing that I considered egregious. The Razr isn’t the fastest phone on the market, but it’s completely usable. (Credit: Geekbench/GFXBench/PCMag)On Geekbench 6, which measures CPU performance, the Razr got a single-core score of 1,072 and a multi-core score of 3,035. These results show only slight improvement over last year’s model (1,054 and 3,010). In comparison, the Razr Ultra comes with the top-of-the-line Snapdragon 8 Elite processor (the same as in the Galaxy S25) and scored an impressive 2,913 and 8,727. Meanwhile, Samsung’s $1,099.99 Galaxy Z Flip 6, which uses the Qualcomm Snapdragon 8 Gen 3 processor, scored 2,133 and 6,134. To test GPU performance, I ran the Razr through the GFXBench suite of tests. It handled Aztec Ruins at 23fps, which is only marginally better than last year’s model (20fps), but slower than the Z Flip 6 (42fps) and the Razr Ultra (105fps). Despite its lack of power, the Razr still manages to do most of what you want it to. I was able to play graphically intensive games, such as Genshin Impact, albeit at lower frame rates. It played well and only stuttered during moments of intense combat. Less graphically demanding games, such as Alto’s Odyssey, played without a hitch. And, unlike the Razr Ultra, the Razr never became warm to the touch. Battery: Better Than Most Non-Flip PhonesBattery life is a selling point for the Razr. The phone has a 4,500mAh battery, an improvement over last year’s 4,200mAh battery. It lasted 21 hours and 35 minutes in testing, for which I streamed an HD video over Wi-Fi with the screen brightness turned all the way up. This is a noticeable improvement over the 2024 model, which ran for 16 hours and 5 minutes. The 2025 Razr easily outlasts the Z Flip 6, which stopped running after 16 hours and 20 minutes. The Razr+ has a smaller 4,000mAh battery, while the 4,7000mAh Razr Ultra lasted 22 hours and 33 minutes in the same test. (Credit: Sarah Lord)The Razr supports 30W wired charging, 15W wireless charging, and 5W reverse wireless charging for accessories. The Razr+ charges faster via wire (45W) but at the same rate on a wireless charging pad (15W). The Z Flip 6 supports 25W wired, 15W wireless, and 4.5W reverse wireless charging. Meanwhile, the Razr Ultra takes advantage of improved charging specs, with 68W wired, 30W wireless, and 5W reverse wireless charging. Recommended by Our EditorsUsing a 96W adapter, the Razr took 1 hour and 16 minutes to fully charge. The phone doesn’t come with a charger inside the box, so you’ll have to provide your own.Connectivity: A Fine 5G RadioAll of the phones in the Razr lineup come with sub-6GHz 5G (including C-band), though they miss out on the faster mmWave 5G that’s available in some areas. If you want a flip phone with mmWave, you’ll have to grab the Galaxy Z Flip 6. Motorola sells the Razr unlocked, and it should work with all major US carriers.I tested the phone on T-Mobile’s network, where it recorded download speeds of 116Mbps and upload speeds of 4.20Mbps. My iPhone 14 Pro recorded download speeds of 99.2Mbps and upload speeds of 25.1Mbps from the same location.(Credit: Sarah Lord)The Razr is equipped with Wi-Fi 6E. When tested close to my Wi-Fi 6 access point, it recorded speeds of 354Mbps down and 18.9Mbps up. The iPhone 14 Pro got similar results, with 369Mbps down and 22.5Mbps up. The Razr's speeds dipped at the edge of the network to 54.1Mbps down and 22.1Mbps up. The iPhone 14 Pro did worse in this location, with download speeds of 26.1Mbps and upload speeds of 15.4Mbps.NFC is available for mobile payments, and Bluetooth is on board for connecting your wireless devices, though Motorola doesn’t specify which version of Bluetooth the phone uses. Audio: Loud EnoughCall quality is good. Callers could hear me well, and I could hear them. The earpiece is loud, at 80.3dB. The speaker is even louder with a max output of 83.5dB. When listening to our test track, The Knife's “Silent Shout," I could feel the bass vibrate the phone. That said, the beats were muddy and not well defined. The volume gets loud enough to listen to music in a small room, but you’ll want to connect speakers or headphones to get the best experience. Cameras: Fun to Use, But Low QualityThe Razr’s main camera has a 50MP sensor with an f/1.7 aperture. It features Pantone color, optical image stabilization (OIS), and phase-detection auto focus. The phone has a 13MP ultra-wide camera with an f/2.2 aperture that can capture macro images. These are joined by a 32MP f/2.4 selfie camera. The main and selfie cameras automatically bin the photos by a factor of four, so images come out at 12.5MP and 8MP, respectively. You can take full-resolution shots by using the camera’s Ultra-Res mode. The photos I took with the Razr are uninspiring and peppered with unnaturally bright spots. Blues are brighter and greens are greener than they appear in real life.Main camera(Credit: Sarah Lord)The leaves at the bottom of the picture above are much brighter than they should be. Further, it's difficult to distinguish individual branches of this tree, even when zoomed in.The camera has three zoom levels. It accomplishes 2x zoom with digital cropping. Here’s a progression:Ultra-wide camera, 0.5x zoom(Credit: Sarah Lord)Main camera, 1x zoom(Credit: Sarah Lord)Main camera, 2x zoom(Credit: Sarah Lord)The grass is almost neon green, and the dandelions are a particularly bright shade of yellow. Ultra-wide camera, macro(Credit: Sarah Lord)Shots taken with the macro mode are filled with noise, especially around the edges of these flowers. Selfie camera(Credit: Sarah Lord)The selfie camera works as expected but isn't particularly impressive.Video capture maxes out at 4K30. The phone is capable of filming with 4x slow motion. Videos appear similar to the photos, with the best footage coming from the main camera. When it comes to flip phones, the Galaxy Z Flip 6, Razr+, and Razr Ultra all have better-performing cameras. Even for similarly priced slab phones, the Galaxy S25 and the Pixel 9a are much more impressive than the Razr.The Razr comes with some of Google’s AI editing capabilities, including Magic Editor, which allows you to circle, brush, or tap an object in your photo to resize it or remove it. You also have access to Google Blur, which blurs the background of a photo, and Google Unblur, which can sharpen a blurry photo. Magic Eraser lets you get rid of unwanted elements in your snaps. Software: More Support, PleaseThe Razr runs on Android 15 and will only get three years of OS updates and four years of security updates. This is the same promise as last year’s products and remains far behind the seven years of OS and security updates found on offerings from Google and Samsung. (Credit: Sarah Lord)Just like the Razr Ultra, you can access just about every app directly from the phone's outer display. By default, it features the time, date, battery life, weather, and notifications. A row of apps includes the camera, messages, photos, and Google Gemini. Swiping down from the top brings you all the Quick Settings menu, while swiping left shows you all the apps available on the external display. You can add as many apps and shortcuts as you want by pressing the pencil button in the upper right corner. Swiping left again brings you to your calendar, followed by the weather, and a communications section that houses the dial pad, contacts, and messages apps. Finally, there are a handful of casual games that you can play directly on the outer display. You don’t have to stick to casual games; I played a session of Genshin Impact directly from the external display. (Credit: Sarah Lord)The Razr comes with Motorola’s AI offerings, though without the dedicated AI button on the Ultra. The Moto AI shortcut sits prominently on the home screen. Opening it gives you access to the Image Studio, where you can use AI to create images, or the Playlist Studio to make a playlist based on your mood. You can also launch Pay Attention, which will record your meetings and provide you with a transcript, or Remember This, which turns images and text into memories that the AI can use to give you a more personalized experience. You can use Catch Me Up to view a summary of all of your texts and notifications, or just ask Moto AI to perform a Google search for you. The AI tools work as expected, but I don’t find them particularly useful. They take care of tasks that I generally don’t need help with, as I’m not overwhelmed by notifications or stuck in an endless number of meetings where I'm expected to take notes. You may find them more useful.

Cutting corners: Now that Samsung has unveiled the Galaxy S25 Edge, attention has turned to Apple's upcoming ultra-thin rival handset, the iPhone 17 Air. The device is expected to debut this fall with a thickness almost half that of a normal iPhone. According to rumors, this doesn't mean every element will have compromises, but there will be areas that could disappoint, especially the battery life. Samsung has made a lot of headlines with the release of the Galaxy S25 Edge, which measures just 5.8mm thick, not counting the camera bump. But Apple's iPhone 17 Air – expected to launch this fall – is said to be even thinner at 5.5mm. That level of thinness means the Air won't be able to match the model it's replacing, the iPhone 16 Plus, in every area. However, it will have a 6.6-inch OLED display with LTPO, making it the first non-Pro iPhone to do so. There will also be features such as 120Hz ProMotion and always-on functionality. Elsewhere, the iPhone 17 Air is expected to pack the same A19 chip as the rest of the iPhone 17 lineup. It will also come with 8GB of RAM and MagSafe wireless charging. Finally, the price of the iPhone 17 Air is believed to be under $1,000, possibly around $899. But it was recently reported that Apple is going to increase the prices of its next generation of iPhones, though it will avoid blaming Trump's tariffs for the hikes, so this rumor may prove wrong. That's the good news. The bad news is that the iPhone 17 Air will have a single rear camera: a 48MP sensor with 2x optical zoom. Something else the iPhone Air will only have one of is a speaker. There will be a single, enhanced earpiece speaker as the phone is too thin for a second speaker to be placed at the bottom. // Related Stories Another potential disappointment is the iPhone 17 Air's lack of support for mmWave 5G. The handset will be one of the first iPhones to use Apple's in-house 5G modem, the C1. The iPhone 16 Plus uses Qualcomm's Snapdragon X75 5G modem, which supports mmWave 5G. Then there's what could be the biggest drawback of them all: the battery life. Reports state that between 60% and 70% of users will be able to use the handset for a full day on a single charge, whereas that figure is between 80% and 90% for other iPhones. Apple may use Apple Intelligence to improve the Air's battery life, and Cupertino plans to introduce a new battery case accessory specifically for the iPhone 17 Air.