How Will Transportation Work in the Future? A Look at the Rise of Electric Mobility in CitiesSave this picture!Boise, United States. Image via Wikipedia user: Fæ. License under CC0 1.0. Image Author: Alden SkeieFrom greenhouse gas emissions and air pollution to deforestation, one of the leading contributors to global warming today is emissions from the transportation sector. Exploring its origins and evolution, as well as the major challenges it faces, the development of electric mobility in urban environments represents a global transition that requires a coordinated mix of policies and actions to achieve cleaner and more sustainable transportation systems. Designing safe and comfortable infrastructure for walking and cycling, promoting public transit and shared mobility, and designing more efficient streets that include electric vehicles, among other actions, are part of a growing worldwide effort to reduce carbon emissions.Although electric vehicles were invented before gasoline and diesel cars in the first half of the 19th century, they have undergone significant technological advances over the past 20 years, reducing their costs and their environmental impact, and increasing their utility. Around 1834, Thomas Davenport developed the first battery-powered electric vehicle, building a small train on a circular track and inventing the first direct current (DC) electric motor. Although there were numerous innovations in the years that followed, battery limitations were a major obstacle. The zinc consumption of a battery was four times more expensive than the coal consumption of a steam engine, so at that time it competed with the electric motor. Save this picture!By 1898, the first commercially available electric vehicles were operating in London and New York. As Francisco Martín Moreno explains in "Vehículos eléctricos. Historia, estado actual y retos futuros", in the early 1900s, several electric car models emerged, primarily accessible to wealthy consumers and designed for short distances. In contrast, the early gasoline-powered cars introduced in the 1920s were noisy, emitted strong gasoline odors, and were hard to drive due to complex gear systems. However, large quantities of oil were discovered between 1920 and 1930, making gasoline-powered cars cheaper in Texas and other US states. Highways began to be built connecting cities, allowing gasoline-powered vehicles to travel from one city to another, something beyond the reach of electric vehicles due to their short range. Mass production techniques like Henry Ford's assembly line further reduced costs, making gas-powered cars affordable to the middle class. Related Article Gas Stations and Electric Cars: How Do They Change Cities Save this picture!By the late 1920s, gasoline vehicles had overtaken electric vehicles, and electric car production largely ceased in the 1930s. However, as a result of the oil crisis in the 1970s and the Gulf War in the 1990s, along with the emergence of climate change as a priority, there was a renewed interest in electric cars. This resurgence led to new models of electric vehicles—from small cars to buses and even trucks. The energy crisis led to an increase in gasoline prices, and society in advanced countries began to become aware of the effects of greenhouse gas emissions from oil combustion, the greenhouse effect, and climate change. Concern about greenhouse gas emissions and climate change increased as oil prices rose, and society began to recognize and become more aware of the impact of the current transportation model on cities and the urgency of finding more environmentally friendly transportation alternatives.Save this picture!Save this picture!In developed countries during the 20th century, the growth of cities was largely due to private car use, allowing citizens to travel miles and miles daily from home to work. Suburban expansion shifted the cost of commuting to individuals. Some residential areas are developing far from the city center and industrial zones, where a large proportion of the population relies on cars. In 2010, the global population was around 7 billion, and it's expected to reach 10 billion by 2050. The number of vehicles, meanwhile, is projected to grow from 75 million in 2010 to 2.5 billion by 2050. Will there be enough fossil fuels to power this massive fleet? What will be the future of gas stations?Save this picture!To meet the goals of the Paris Climate Agreement and reduce growing air pollution, low- and middle-income countries should join the global transition to zero-emission electric transport. According to data from the International Energy Agency and the European Alternative Fuels Observatory, China led the world in 2024 with over 7 million electric vehicles (including cars and buses) in operation—an increase of over 3 million in just one year. The U.S. ranked second, followed by Germany, which leads in Europe with about 1.3 million EVs. The UK and France round out the top five.Save this picture!To support this transition, the United Nations Environment Programme (UNEP) has launched a global initiative alongside private sector partners, academic institutions, and financial organizations, helping low- and middle-income countries shift to electric mobility. In Latin America, transportation accounts for around one-third of CO₂ emissions. In Africa, Asia, and parts of Latin America, motorcycles and three-wheelers are essential for daily mobility, often covering over 100 km per day. However, these vehicles usually rely on outdated technologies, making them highly polluting and inefficient. Electrifying two- and three-wheelers presents a significant opportunity to reduce both greenhouse gas emissions and air pollution. UNEP is assisting 17 countries in creating national strategies and running pilot projects to introduce these electric vehicles in regions like Africa, Southeast Asia, and Latin America.Save this picture!Given the rapid urbanization in many low- and middle-income countries, mass public transport remains a cornerstone of urban mobility. Cities across Africa, Asia, and Latin America are investing in better transportation systems, including high-capacity bus corridors and Bus Rapid Transit (BRT) systems. Yet, with the average bus lifespan exceeding 12 years, it's essential to avoid locking cities into outdated technologies. Developing policies to support and incentivize the adoption of zero-emission vehicles is essential to achieving the electrification of public transport. The European Commission proposes promoting investment initiatives in charging infrastructure and emissions trading, to be implemented starting in 2026, by putting a carbon price on fossil-fuel vehicles. This measure seeks to boost the use of electric vehicles and the transformation of transport systems. Now, how could charging infrastructure be developed to support a potential massive growth in the electric vehicle fleet? What upgrades and innovations are needed to handle this future demand? What would happen if all transportation suddenly depended on the power grid?Save this picture!Save this picture!The UN emphasizes that using public transportation is critical to curbing climate change. Electrifying buses and trains could cut greenhouse gas emissions by up to two-thirds per passenger per kilometer compared to private vehicles. Still, private cars hold the greatest potential for emission reduction. In 2018, light-duty vehicles were responsible for nearly half of all transport emissions—including those from rail, sea, and air travel. Several major carmakers have announced ambitious plans to release new EV models in the next five years.Save this picture!According to a study by the McKinsey Center for Future Mobility (2019), roughly 60% of global car trips are under 8 kilometers, making them ideal for micromobility solutions. Electromicromobility refers to small, lightweight, and low-speed electric transportation options for short distances, such as electric skateboards, scooters, bikes, mopeds, and quadricycles. From a user perspective, electric vehicles still face hurdles like high costs, limited range, and long charging times. However, their broader societal benefits—particularly emissions reductions—are significant. Therefore, local and national governments are encouraged to implement supportive policies, such as vehicle purchase subsidies, tax breaks, free charging stations, parking benefits, access to city centers, and special electricity rates for nighttime charging, etc.Save this picture!Save this picture!Ultimately, we should ask: What lies ahead for modern transportation? How could new forms of natural, artificial, and collective intelligence be integrated into the design of today's transportation systems to improve resilience to environmental and growth challenges? What partnerships between countries, industries, and organizations are needed to ensure a sustainable and innovative supply of key materials? What will happen to used EV batteries and electronic components? Will be electric mobility in cities the only way to reduce carbon emissions?This article is part of the ArchDaily Topics: What Is Future Intelligence?, proudly presented by Gendo, an AI co-pilot for Architects. Our mission at Gendo is to help architects produce concept images 100X faster by focusing on the core of the design process. We have built a cutting edge AI tool in collaboration with architects from some of the most renowned firms such as Zaha Hadid, KPF and David Chipperfield.Every month we explore a topic in-depth through articles, interviews, news, and architecture projects. We invite you to learn more about our ArchDaily Topics. And, as always, at ArchDaily we welcome the contributions of our readers; if you want to submit an article or project, contact us. Image gallerySee allShow less About this authorAgustina IñiguezAuthor••• Cite: Agustina Iñiguez. "How Will Transportation Work in the Future? A Look at the Rise of Electric Mobility in Cities" 03 Jun 2025. ArchDaily. Accessed . <https://www.archdaily.com/1030500/how-will-transportation-work-in-the-future-a-look-at-the-rise-of-electric-mobility-in-cities&gt ISSN 0719-8884Save世界上最受欢迎的建筑网站现已推出你的母语版本!想浏览ArchDaily中国吗?是否 You've started following your first account!Did you know?You'll now receive updates based on what you follow! Personalize your stream and start following your favorite authors, offices and users.Go to my stream

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.

A New Museum Dedicated to Frida Kahlo’s Early Years and Family Life Is Coming to Mexico City The Museo Casa Kahlo will be located beside the popular Museo Frida Kahlo. It will display letters, artworks and mementos that shed light on the Mexican artist’s childhood Frida Kahlo in 1944 Bettmann via Getty Images A new museum dedicated to the early life of the Mexican painter Frida Kahlo is opening in Mexico City. Located in the city’s historic Coyoacán district, the Museo Casa Kahlo will tell the Mexican painter’s story through letters, toys, artworks and other personal items. “This museum isn’t just about her work—it’s about her world,” Frida Hentschel Romeo, Kahlo’s great-grand-niece, tells Vogue’s Chloe Schama. “It’s about how the people closest to her shaped who she became. And it’s also about the living family—those of us who carry her legacy forward.” The museum will occupy a building known as Casa Roja, a home belonging to the Kahlo family. It’s next door to the already famous Casa Azul, the family home built by Kahlo’s father in 1904. The Museo Frida Kahlo, which occupies Casa Azul, has been open since 1958. Andrew Hasson / Getty Images Born in 1907, Kahlo grew up in Casa Azul and later shared it with her husband, fellow artist Diego Rivera. She purchased the neighboring red house (also owned by her parents) for her sister Cristina’s family. Four years after Kahlo’s death in 1954, Casa Azul was converted into the popular Museo Frida Kahlo, which displays art and objects from Kahlo’s adult life alongside rotating exhibitions. Casa Roja has remained in the Kahlo family, passed down by Cristina’s descendants. “Cristina was by her side through so much,” Hentschel Romeo tells Vogue. “Traveling with her to New York for her first major exhibition, supporting her through surgeries and recovery.” Frida Kahlo photographed by her father in 1932 Public domain via Wikimedia Commons Pain was a constant throughout Kahlo’s life. After sustaining serious injuries from a bus accident at 18, she endured chronic symptoms for the rest of her life. Despite these challenges, Kahlo thrived as an artist, garnering international acclaim for her vibrant, wrenching self-portraits. Some of Kahlo’s most famous paintings are painful depictions of women’s suffering, her own injuries and her turbulent marriage to Rivera, who had countless affairs (including one with Cristina). Casa Roja was eventually passed down to Cristina’s granddaughter, Mara Romeo Kahlo, who is Kahlo’s closest living relative, reports the New York Times’ Robin Pogrebin. Romeo Kahlo volunteered the red house to host the new Museo Casa Kahlo, which will open in late September. Its development is being overseen by Fundación Kahlo, a nonprofit recently established by the Kahlo family, which aims to “preserve Frida’s legacy and promote Mexican, Indigenous and Latin American art and culture on a global scale,” according to its website. “For the first time, the voice of the family will be at the heart of how Frida’s story is told,” Hentschel Romeo tells Vogue. As Romeo Kahlo explains to the Times, “The family was very important for Frida because it was her support.” While Casa Azul focuses on Kahlo’s adult life, the new museum will focus on her early development. Visitors will examine never-before-seen personal artifacts, such as childhood photographs, dolls, letters, jewelry, clothes and a piece of embroidery Kahlo sewed when she was 5. Other highlights include the artist’s only known mural and her first oil painting.Hentschel Romeo tells Vogue that Kahlo showed this painting to her husband, asking him to judge whether she had the talent to be a painter. “It is incredibly moving to see up close,” she adds. “This is a dream long held by our family,” Romeo Kahlo says in a statement. “Frida’s legacy belongs to the world, but it begins here—on this land, in these homes and in the culture that shaped her. Museo Casa Kahlo will allow us to tell new stories, share family secrets, host new voices and build a future that honors her spirit.” Get the latest stories in your inbox every weekday.

Ballerina: From the World of John Wick's filmmaker disagrees with people who have labeled it a spin-off project.

Astronomers have spotted something strange and spectacular: a mysterious object that keeps emitting pulses every 44 minutes.In a press release from Australia's Curtin University, which was part of the international team that detected the object just 15,000 light-years away in our Milky Way galaxy, astronomers explained that the find was all the more stunning because the signal is coming in the form of both X-rays and radio waves.The object, which was named ASKAP J1832-0911 after Australia's ASKAP radio telescope that was used to detect it, was discovered emitting two-minute-long pulses that would pause and then repeat 44 minutes later. As the Curtin press release explains, the researchers lucked out when they realized that NASA’s Chandra X-ray Observatory was observing the same part of the sky and detected the same repeating signal in X-ray form.This dual-natured pulse belongs to a newly-discovered class of space phenomena known as "long-period radio transients," or LPTs for short.Discovered in 2022 by the International Centre for Radio Astronomy Research — which also sponsored this latest study — these mystery pulses have unknown origins and occur in fixed intervals of minutes or hours. They're considered by astronomers to be remarkably slow as compared to the signals emitted by pulsars, those rapidly-rotating stars that send out similar bursts every few milliseconds when their poles point in Earth's direction.In the years since they were first discovered, astronomers around the world have only detected some 10 other LPTs — but before now, none have been run through X-ray telescopes as well.According to Ziteng "Andy" Wang, an ICRAR-affiliated Curtin astronomer and the lead author a paper about the finding that was just published in the journal Nature, discovering the dual nature of LPTs in such a coincidental manner "felt like finding a needle in a haystack.""The ASKAP radio telescope has a wide field view of the night sky, while Chandra observes only a fraction of it," Wang explained in the Curtin press release. "So, it was fortunate that Chandra observed the same area of the night sky at the same time."Because LPTs are such a new phenomenon to astronomers, they can't say for sure what causes them.When the first of them were discovered, astronomers posited that they could be coming from magnetars, a type of neutron star with extremely strong magnetic fields that also emit radio pulses at faster intervals, leading to the ICRAR team positing that they may have an "ultra-long-period magnetar" on their hands.While the magnetar theory appears to have been scrapped, the astronomers behind this update in LPT knowledge are hopeful that it will help them figure out what these strange, slow pulses are about."This object is unlike anything we have seen before," said Wang.Share This Article

Dotemu is on a pretty good run. The video game studio and publisher has been around since 2007, and much of its history is largely working on remakes and remasters of older games. But it’s also been involved with major hits in the form of sequels and new games that are in the spirit of older classics, including Streets of Rage 4 and Teenage Mutant Ninja Turtles: Shredder’s Revenge.All of that work is culminating in what looks to be a promising 2025, with three new but classics-inspired games: Ninja Gaiden: Ragebound, a new side-scroller for the series; Marvel Cosmic Invasion, an arcade-y beat-’em-up; and Absolum, an original beat-’em-up with roguelike elements. Absolum. Image: Dotemu“We’re open to everything,” CEO Cyrille Imbert tells The Verge. Despite his title, Imbert says his job involves acting like an executive producer to bring together concepts that answer specific needs for franchises.Before Shredder’s Revenge’s 2022 release, for example, there hadn’t been a good side-scrolling TMNT game for “a while,” he says. (Turtles in Time, which helped inspire the game, came out in 1991.) “We were convinced that there was a need for that.” There was: the game sold 1 million copies in its first week, developer Tribute Games said at the time.Dotemu takes on “most of the risk” of a project based on an existing franchise, Imbert says, meaning that while the company needs to convince a franchise owner to get on board, Dotemu typically finances everything and is responsible for finding a studio to execute a concept.“From A to Z, we are in control of the project, but we take the risk from A to Z as well,” explains Imbert. “Sometimes the studio will also participate financially, but it’s fairly rare, or it’s usually a minority of the total spending.” Ninja Gaiden: Ragebound. Image: DotemuWith the new Ninja Gaiden game, for example, Imbert says he was familiar with the 3D iterations of the franchise on Xbox, and he also saw the success of recent action-platformers like The Messenger. So, he started conversations with Koei Tecmo, and then worked with The Game Kitchen, the developer of Blasphemous, on a pitch. “That’s the story, basically,” Imbert says.For Marvel Cosmic Invasion, Imbert says that following Streets of Rage 4, “lots of people” had been asking for a new X-Men game that was like what you used to find in arcades. “We knew there was a need and that people would really like it,” he says, especially if it got a similar treatment as Streets of Rage 4 or Shredder’s Revenge. The idea was “very obvious” to the Tribute Games team as well, so Dotemu and Tribute made a pitch to Marvel Games.Absolum, as a fully original game, is different from its other titles. From a pure business perspective, it’s a way for Dotemu to diversify its lineup so that the company doesn’t rely entirely on licensed games. Internally, the Dotemu team felt like they could do their own thing, and by making it inspired by classics, it would still fit in Dotemu’s lineup, Imbert says. They also wanted to work with Guard Crush, which worked on Streets of Rage 4, on another beat-’em-up.It all adds up to what’s going to be a busy year for the company. It has three games that show the different approaches it has to making these kinds of experiences, and all of them were chosen for a specific reason. “That’s how we’re going to be proud of what we do.”See More:

In “The Optimist: Sam Altman, OpenAI, and the Race to Invent the Future,” Wall Street Journal reporter Keach Hagey examines our AI-obsessed moment through one of its key figures — Sam Altman, co-founder and CEO of OpenAI. Hagey begins with Altman’s Midwest childhood, then takes readers through his career at startup Loopt, accelerator Y Combinator, and now at OpenAI. She also sheds new light on the dramatic few days when Altman was fired, then quickly reinstated, as OpenAI’s CEO. Looking back at what OpenAI employees now call “the Blip,” Hagey said the failed attempt to oust Altman revealed that OpenAI’s complex structure — with a for-profit company controlled by a nonprofit board — is “not stable.” And with OpenAI largely backing down from plans to let the for-profit side take control, Hagey predicted that this “fundamentally unstable arrangement” will “continue to give investors pause.” Does that mean OpenAI could struggle to raise the funds it needs to keep going? Hagey replied that it could “absolutely” be an issue. “My research into Sam suggests that he might well be up to that challenge,” she said. “But success is not guaranteed.” In addition, Hagey’s biography (also available as an audiobook on Spotify) examines Altman’s politics, which she described as “pretty traditionally progressive” — making it a bit surprising that he’s struck massive infrastructure deals with the backing of the Trump administration. “But this is one area where, in some ways, I feel like Sam Altman has been born for this moment, because he is a deal maker and Trump is a deal maker,” Hagey said. “Trump respects nothing so much as a big deal with a big price tag on it, and that is what Sam Altman is really great at.” Techcrunch event Save now through June 4 for TechCrunch Sessions: AI Save $300 on your ticket to TC Sessions: AI—and get 50% off a second. Hear from leaders at OpenAI, Anthropic, Khosla Ventures, and more during a full day of expert insights, hands-on workshops, and high-impact networking. These low-rate deals disappear when the doors open on June 5. Exhibit at TechCrunch Sessions: AI Secure your spot at TC Sessions: AI and show 1,200+ decision-makers what you’ve built — without the big spend. Available through May 9 or while tables last. Berkeley, CA | June 5 REGISTER NOW In an interview with TechCrunch, Hagey also discussed Altman’s response to the book, his trustworthiness, and the AI “hype universe.” This interview has been edited for length and clarity.  You open the book by acknowledging some of the reservations that Sam Altman had about the project —  this idea that we tend to focus too much on individuals rather than organizations or broad movements, and also that it’s way too early to assess the impact of OpenAI. Did you share those concerns? Well, I don’t really share them, because this was a biography. This project was to look at a person, not an organization. And I also think that Sam Altman has set himself up in a way where it does matter what kind of moral choices he has made and what his moral formation has been, because the broad project of AI is really a moral project. That is the basis of OpenAI’s existence. So I think these are fair questions to ask about a person, not just an organization. As far as whether it’s too soon, I mean, sure, it’s definitely [early to] assess the entire impact of AI. But it’s been an extraordinary story for OpenAI — just so far, it’s already changed the stock market, it has changed the entire narrative of business. I’m a business journalist. We do nothing but talk about AI, all day long, every day. So in that way, I don’t think it’s too early. And despite those reservations, Altman did cooperate with you. Can you say more about what your relationship with him was like during the process of researching the book? Well, he was definitely not happy when he was informed about the book’s existence. And there was a long period of negotiation, frankly. In the beginning, I figured I was going to write this book without his help — what we call, in the business, a write-around profile. I’ve done plenty of those over my career, and I figured this would just be one more. Over time, as I made more and more calls, he opened up a little bit. And [eventually,] he was generous to sit down with me several times for long interviews and share his thoughts with me. Has he responded to the finished book at all? No. He did tweet about the project, about his decision to participate with it, but he was very clear that he was never going to read it. It’s the same way that I don’t like to watch my TV appearances or podcasts that I’m on. In the book, he’s described as this emblematic Silicon Valley figure. What do you think are the key characteristics that make him representative of the Valley and the tech industry? In the beginning, I think it was that he was young. The Valley really glorifies youth, and he was 19 years old when he started his first startup. You see him going into these meetings with people twice his age, doing deals with telecom operators for his first startup, and no one could get over that this kid was so smart. The other is that he is a once-in-a-generation fundraising talent, and that’s really about being a storyteller. I don’t think it’s an accident that you have essentially a salesman and a fundraiser at the top of the most important AI company today, That ties into one of the questions that runs through the book — this question about Altman’s trustworthiness. Can you say more about the concerns people seem to have about that? To what extent is he a trustworthy figure?  Well, he’s a salesman, so he’s really excellent at getting in a room and convincing people that he can see the future and that he has something in common with them. He gets people to share his vision, which is a rare talent. There are people who’ve watched that happen a bunch of times, who think, “Okay, what he says does not always map to reality,” and have, over time, lost trust in him. This happened both at his first startup and very famously at OpenAI, as well as at Y Combinator. So it is a pattern, but I think it’s a typical critique of people who have the salesman skill set. So it’s not necessarily that he’s particularly untrustworthy, but it’s part-and-parcel of being a salesman leading these important companies. I mean, there also are management issues that are detailed in the book, where he is not great at dealing with conflict, so he’ll basically tell people what they want to hear. That causes a lot of sturm-und-drang in the management ranks, and it’s a pattern. Something like that happened at Loopt, where the executives asked the board to replace him as CEO. And you saw it happen at OpenAI as well. You’ve touched on Altman’s firing, which was also covered in a book excerpt that was published in the Wall Street Journal. One of the striking things to me, looking back at it, was just how complicated everything was — all the different factions within the company, all the people who seemed pro-Altman one day and then anti-Altman the next. When you pull back from the details, what do you think is the bigger significance of that incident? The very big picture is that the nonprofit governance structure is not stable. You can’t really take investment from the likes of Microsoft and a bunch of other investors and then give them absolutely no say whatsoever in the governance of the company. That’s what they have tried to do, but I think what we saw in that firing is how power actually works in the world. When you have stakeholders, even if there’s a piece of paper that says they have no rights, they still have power. And when it became clear that everyone in the company was going to go to Microsoft if they didn’t reinstate Sam Altman, they reinstated Sam Altman. In the book, you take the story up to maybe the end of 2024. There have been all these developments since then, which you’ve continued to report on, including this announcement that actually, they’re not fully converting to a for-profit. How do you think that’s going to affect OpenAI going forward?  It’s going to make it harder for them to raise money, because they basically had to do an about-face. I know that the new structure going forward of the public benefit corporation is not exactly the same as the current structure of the for-profit — it is a little bit more investor friendly, it does clarify some of those things. But overall, what you have is a nonprofit board that controls a for-profit company, and that fundamentally unstable arrangement is what led to the so-called Blip. And I think you would continue to give investors pause, going forward, if they are going to have so little control over their investment. Obviously, OpenAI is still such a capital intensive business. If they have challenges raising more money, is that an existential question for the company? It absolutely could be. My research into Sam suggests that he might well be up to that challenge. But success is not guaranteed. Like you said, there’s a dual perspective in the book that’s partly about who Sam is, and partly about what that says about where AI is going from here. How did that research into his particular story shape the way you now look at these broader debates about AI and society? I went down a rabbit hole in the beginning of the book, [looking] into Sam’s father, Jerry Altman, in part because I thought it was striking how he’d been written out of basically every other thing that had ever been written about Sam Altman. What I found in this research was a very idealistic man who was, from youth, very interested in these public-private partnerships and the power of the government to set policy. He ended up having an impact on the way that affordable housing is still financed to this day. And when I traced Sam’s development, I saw that he has long believed that the government should really be the one that is funding and guiding AI research. In the early days of OpenAI, they went and tried to get the government to invest, as he’s publicly said, and it didn’t work out. But he looks back to these great mid-20th century labs like Xerox PARC and Bell Labs, which are private, but there was a ton of government money running through and supporting that ecosystem. And he says, “That’s the right way to do it.” Now I am watching daily as it seems like the United States is summoning the forces of state capitalism to get behind Sam Altman’s project to build these data centers, both in the United States and now there was just one last week announced in Abu Dhabi. This is a vision he has had for a very, very long time. My sense of the vision, as he presented it earlier, was one where, on the one hand, the government is funding these things and building this infrastructure, and on the other hand, the government is also regulating and guiding AI development for safety purposes. And it now seems like the path being pursued is one where they’re backing away from the safety side and doubling down on the government investment side. Absolutely. Isn’t it fascinating?  You talk about Sam as a political figure, as someone who’s had political ambitions at different times, but also somebody who has what are in many ways traditionally liberal political views while being friends with folks like — at least early on — Elon Musk and Peter Thiel. And he’s done a very good job of navigating the Trump administration. What do you think his politics are right now? I’m not sure his actual politics have changed, they are pretty traditionally progressive politics. Not completely — he’s been critical about things like cancel culture, but in general, he thinks the government is there to take tax revenue and solve problems. His success in the Trump administration has been fascinating because he has been able to find their one area of overlap, which is the desire to build a lot of data centers, and just double down on that and not talk about any other stuff. But this is one area where, in some ways, I feel like Sam Altman has been born for this moment, because he is a deal maker and Trump is a deal maker. Trump respects nothing so much as a big deal with a big price tag on it, and that is what Sam Altman is really great at. You open and close the book not just with Sam’s father, but with his family as a whole. What else is worth highlighting in terms of how his upbringing and family shapes who he is now? Well, you see both the idealism from his father and also the incredible ambition from his mother, who was a doctor, and had four kids and worked as a dermatologist. I think both of these things work together to shape him. They also had a more troubled marriage than I realized going into the book. So I do think that there’s some anxiety there that Sam himself is very upfront about, that he was a pretty anxious person for much of his life, until he did some meditation and had some experiences. And there’s his current family — he just had a baby and got married not too long ago. As a young gay man, growing up in the Midwest, he had to overcome some challenges, and I think those challenges both forged him in high school as a brave person who could stand up and take on a room as a public speaker, but also shaped his optimistic view of the world. Because, on that issue, I paint the scene of his wedding: That’s an unimaginable thing from the early ‘90s, or from the ‘80s when he was born. He’s watched society develop and progress in very tangible ways, and I do think that that has helped solidify his faith in progress. Something that I’ve found writing about AI is that the different visions being presented by people in the field can be so diametrically opposed. You have these wildly utopian visions, but also these warnings that AI could end the world. It gets so hyperbolic that it feels like people are not living in the same reality. Was that a challenge for you in writing the book? Well, I see those two visions — which feel very far apart — actually being part of the same vision, which is that AI is super important, and it’s going to completely transform everything. No one ever talks about the true opposite of that, which is, “Maybe this is going to be a cool enterprise tool, another way to waste time on the internet, and not quite change everything as much as everyone thinks.” So I see the doomers and the boomers feeding off each other and being part of the same sort of hype universe. As a journalist and as a biographer, you don’t necessarily come down on one side or the other — but actually, can you say where you come down on that? Well, I will say that I find myself using it a lot more recently, because it’s gotten a lot better. In the early stages, when I was researching the book, I was definitely a lot more skeptical of its transformative economic power. I’m less skeptical now, because I just use it a lot more.

Until last October, Argentinian musical duo Ca7riel & Paco Amoroso were more or less a regional act. Known for their experimental blend of Latin trap, pop, and rap, the pair had a fanbase, but still weren’t cracking more than 3,000 daily streams across services like Spotify, Apple Music, and YouTube. Within a week, they shot up 4,700%—hitting 222,000 daily streams—according to exclusive data firm Luminate, which powers the Billboard charts. Suddenly Ca7riel & Paco Amoroso were global pop stars.  What changed? On Oct. 4, the pair were featured in a Tiny Desk Concert, part of NPR’s 17-year-old video series featuring musicians performing stripped-down sets behind an office desk in the cramped Washington, D.C. headquarters of the public broadcaster.  In the concert video, the artists play five songs from their debut album Baño Maria, which came out last April. Paco’s raspy voice emerges from underneath a puffy blue trapper hat while Ca7riel sports an over-the-top pout and a vest made of stitched-together heart-shaped plush toys. The pair sing entirely in Spanish, backed by their Argentinian bandmates (sporting shirts screenprinted with their visas) and an American horn section. The duo’s performance quickly took off across the internet. Within five days, it had racked up more than 1.5 million views on YouTube, and hit 11 million in little more than a month. It also reverberated across social media: the NPR Music Instagram post garnering nearly 900,000 likes, and TikToks clips garnered hundreds of thousands of views.  In a year that featured Tiny Desk performances from buzzy stars like Chappell Roan and Sabrina Carpenter, as well as established acts like Chaka Khan and Nelly Furtado, Ca7riel & Paco Amoroso’s concert was the most-watched of 2024. It currently sits at 36 million views.  That virality translated to an influx of bookings for the duo, including a performance at Coachella in April, and upcoming slots at Glastonbury in June, FujiRock Japan in July, and Lollapalooza and Outside Lands in August. Ca7riel & Paco Amoroso’s global tour includes sold-out dates at Mexico’s 20,000-capacity Palacio de los Deportes and Chile’s 14,000-seat Movistar Areana—and was previewed by an appearance on The Tonight Show Starring Jimmy Fallon in April.  “Through Tiny Desk, we’ve noticed media approaching us, promoters being very interested in offering their spaces and festivals, and many media outlets opening doors to show us to the world,” says Jonathan Izquierdo, the band’s Spain-based tour manager who began working with the duo shortly after the Tiny Desk Concert debuted. “We’ve managed to sell out summer arena shows in record time and we’re constantly adding new concerts. Promoters are knocking on our doors to get the Tiny Desk effect.” Bobby Carter [Photo: Fenn Paider/courtesy NPR] Tiny Desk, Big Influence The Tiny Desk effect is something Bobby Carter, NPR Tiny Desk host and series producer, has seen firsthand. Carter has been at NPR for 25 years, including the past 11 on the Tiny Desk team. He took the reins when Bob Boilen, the longtime All Songs Considered host who launched Tiny Desk in 2008, retired in 2023.  The series—which now has more than 1,200 videos—began as an internet-first way for Boilen to showcase performances from musicians that were more intimate than what happens in bigger concert venues. The first installment, featuring folk artist Laura Gibson, went up on YouTube. Today, the concerts are posted on the NPR site with a writeup and credits, as well as YouTube, where NPR Music has 11 million followers. NPR Music also clips installments on Instagram, where it has 3 million followers.  In the early days, NPR staff reached out to touring bands to secure bookings. Acts coming through DC could often be cajoled into filming an installment before heading out to their venues for that night’s sound check. Now, musicians come to DC just for the chance to record in NPR’s offices.  “We don’t have to worry about tours anymore,” Carter says. “Labels and artists are willing to come in solely for a Tiny Desk performance. They understand the impact that a really good Tiny Desk concert can have on an artist’s career.” Early on, the stripped-down nature of the Tiny Desk—artists can’t use any audio processing or voice modulation—lent itself to rock, folk, and indie acts. But a 2014 concert with T-Pain, in which the famously autotune-heavy singer unveiled an impressive set of pipes, showed how artists from a broader array of genres could shine behind the Tiny Desk.  “Everyone knows at this point that they’re going to have to do something different in our space,” Carter says. “It’s a bigger ask for hip-hop acts and electronic acts, but most artists now understand how important it can be if they nail it.” Carter highlights rapper Doechii as an artist who overhauled her sound for her Tiny Desk concert in December. Doechii’s all-female backing band used trumpet, saxophone, guitar, and bass to transform songs from her mixtape Alligator Bites Never Heal for the live setting. “If you listen to the recorded version of her music, it’s nothing like what you saw in that Tiny Desk,” Carter says.  Clips of Doechii’s Tiny Desk virtuosity lit up social media, introducing the ‘swamp princess’ to new fans. The concert even inspired a viral parody, with writer-director-comedian Gus Heagary pretending to be an NPR staffer watching the performance.    Reimagining Old Favorites It isn’t just emerging acts that totally revamp their sound for a Tiny Desk opportunity. Established artists like Usher, Justin Timberlake, and Cypress Hill have followed T-Pain’s lead and used NPR’s offices to showcase reimagined versions of some of their most popular songs. When Juvenile recorded his installment in June 2023, he was backed by horns and saxophones, a violin and cello, and John Batiste on melodica. The New Orleans rapper played an acoustic version of “Back That Azz Up” twice at the audience’s request—the first encore in the series’ history.  “I love what has happened with hip hop [on Tiny Desk],” Carter says. He explains that artists now approach the concert with the mindset: ‘I have to really rethink what I’ve been doing for however long I’ve been doing it, and present it in a whole new way.”  Tiny Desk has also helped musicians like Juvenile, gospel artist Marvin Sapp, and percussionist Sheila E to reach new audiences while reminding listeners they’re still making music. “We’re helping artists to re-emerge,” Carter says, “tapping into legacy acts and evergreen artists [to help] breathe new life into their careers.” In many ways, Tiny Desk now occupies a niche once filled by MTV Unplugged—but for the generation that has replaced cable with YouTube and streaming.   “Maybe 10, 15, 20 years ago, all of our favorite artists had this watershed moment in terms of a live performance,” Carter says. “Back in the day it was MTV Unplugged. SNL is still doing their thing. But when you think about the generation now that lives on YouTube, some of these Tiny Desk performances are going to be the milestone that people point to when it comes to live performances.” Building a Diverse Audience When Carter talks about Tiny Desk concerts reaching a new generation of listeners, it’s not conjecture. He notes that the NPR Music YouTube channel’s 11 million subscribers are “as young and diverse as it gets. It’s almost half people of color [and] much younger than the audience that listens to NPR on air, which is an audience NPR has been trying to tap for a long time,” he says.  That diversity informs some of the special series that Tiny Desk produces. The Juvenile video was part of Carter’s second run of concerts recorded for Black Music Month, in June. Ca7riel & Paco Amoroso’s video was tied to El Tiny, a Latin-focused series that debuts during Latin Heritage Month (from mid September to mid October) and is programmed by Tiny Desk producer and Alt.Latino host AnaMaria Sayer.  Ca7riel & Paco Amoroso’s tour manager, Izquierdo, has worked with artists featured in the series before. He says Tiny Desk is crucial for Latin American artists trying to break through. “I’ve realized that for U.S. radio, Latin music benefits from Tiny Desk,” he says. The Tiny Desk audience’s broad demographics are also increasingly reflected in its broader programming. Bad Bunny’s April installment took his reggaeton-inspired songs from recent album Debi Tirar Mas Fotos to their acoustic roots, using an array of traditional Puerto Rican, Latin American, and Caribbean instruments, such as the cuatro puertorriqueño, tiple, güicharo, and bongos.  “[Our] audience informs a whole lot of what we do,” Carter says. I get so many pointers from YouTube comments like ‘Have you heard of this artist?’ We’re watching all that stuff because it helps us stay sharp.” Tiny Desk heard round the world With a strong global audience, Tiny Desk has been expanding into Asia. In 2023, NPR struck a licensing deal with South Korean Telecom LG U+ and production company Something Special to produce Tiny Desk Korea for television. Last year, NPR inked a deal with the Japan Broadcasting Corporation (NHK) to launch Tiny Desk Concerts Japan. “We’re really expanding in terms of global reach,” Carter says.  Here in the States, Carter and Sayer recently launched Tiny Desk Radio, a series that will revisit some of the series’ notable installments, sharing behind-the-scenes stories from their productions and playing the audio from the concerts “Our engineers put a lot of time and effort into making sure that we sound great,” Carter says. “I hear it a lot—people tell me they prefer an artist’s Tiny Desk over anything.” That’s something Ca7riel & Paco Amoroso clearly have on their mind as they navigate the Tiny Desk effect and a new level of recognition (their daily streams haven’t dipped below 50,000 a day since the beginning of the year). The duo released an EP in February, Papota, which features four new songs, plus the recorded versions of their pared-down Tiny Desk performances. They also released a short film that recreates their Tiny Desk performance—this time in a Buenos Aires diner. One of the themes of the EP is the pair wrestling with the implications of their viral success. On the song Impostor, Ca7riel asks “¿Y ahora que vamos hacer?/El tiny desk me jodio” (What do we do now? Tiny Desk fucked me up.) It’s an overstatement, but an acknowledgment that the path they’re now on ran directly through the NPR offices. 

You cross the finish line after what feels like a perfect 10-mile run and your watch beeps triumphantly, displaying that beautiful round number: 10.00 miles. You're already composing your social media post in your head. Then you upload to Strava and—betrayal. Your activity shows 9.99 miles. It might seem like a bug, but as Strava explains, it's very much by design.Welcome to the "Strava Tax," the phenomenon that has spawned memes, advice, and probably a few extra loops around parking lots as runners desperately try to hit that magical round number.What's really happening when Strava rounds down?The Strava Tax isn't actually Strava being petty or skimming distance off your achievements. It's more of a collision between mathematical precision and the messy reality of how different devices handle GPS data.Here's the thing: when your watch displays 10.00 miles, that's often not what it actually recorded. The raw GPS data might show 9.993 miles, 9.996 miles, or 10.001 miles. Your watch rounds this to a nice, clean 10.00 for display purposes—because who wants to see 9.99634 miles on their wrist?So your watch and apps don't just display raw GPS data—they "improve" it. They smooth out GPS wobbles, correct for obvious errors, and sometimes add their own interpretations of where you actually went. Your Garmin might think you ran through that building (especially as AI maps take over), while your phone's GPS smooths your route to follow the sidewalk.Different manufacturers handle this data inconsistency in different ways. Even devices from the same manufacturer can display identical GPS data differently, depending on the model, firmware version, or even the specific algorithms running on each device. Some devices will show 1.00 km as soon as you hit 991 meters (0.991 km), while others wait until you actually complete a full kilometer. It's like having different definitions of what "close enough" means.Beyond that, mile definitions aren't actually universal. You'd think a mile is a mile, right? Not in the world of fitness devices. The precise definition is 1609.344 meters, but some devices use 1609 meters for simplicity. That small difference adds up over longer distances.But Strava takes a different approach. When displaying distances, Strava rounds down rather than using standard rounding rules. So that 9.993 miles becomes 9.99 miles on your activity page, not 10.00 miles.Why Strava rounds downStrava often sits in the middle of different manufacturers and devices. Imagine if Strava applied the same "enhancement" algorithms that your Garmin uses to data coming from an Apple Watch. The Apple data might get double-processed, potentially inflating distances. Or if it used Apple's data smoothing, it might actually reduce accuracy.Instead, Strava takes a conservative approach: it displays the data as close to raw as possible, using consistent rounding rules across all devices. This means sometimes your beautiful round numbers get truncated, but it also means a 10K from a Garmin is treated the same as a 10K from an Apple Watch.Zooming out, when it comes to fitness tracking, it's helpful to remember that the numbers we see are often more complicated than they appear. We all know GPS isn't perfect. Think about it: your device is trying to track your position using satellites 12,000+ miles above Earth. Trees, buildings, weather, and even solar activity can affect accuracy. How often to record points, how to connect the dots between points, how to filter out obvious errors, how to handle missing data—each manufacturer makes different choices. Strava's choice, in its own words, is to "err on the side of caution rather than let the accuracy of our records start to dilute."Tips to live with the Strava TaxAt the end of the day, there's a deeper reason why so many runners bond over Strava Tax memes. The Strava Tax taps into something more than just measurement accuracy—it hits our psychological relationship with round numbers. There's something deeply satisfying about completing exactly 10 miles, 5K, or 100 kilometers. These numbers feel complete, accomplished, worthy of celebration.When Strava displays 9.99 miles instead of 10.00, it doesn't just remove a hundredth of a mile—it removes the psychological satisfaction of hitting that milestone. It's the difference between "I ran 10 miles!" and "I ran...well, basically 10 miles."This is why you see runners doing extra loops around parking lots, cyclists riding circles in their driveways, and forum threads debating whether 9.99 miles "counts" as a 10-mile run. It's not really about the 0.01 miles—it's about the story we tell ourselves and others about our achievements.So what's a data-obsessed athlete to do? A few strategies:Embrace the range: Instead of fixating on hitting exactly 10.00 miles, think in ranges. A 9.98-10.02 mile run is essentially the same thing—you ran about 10 miles.Know your device: Learn how your specific watch or phone handles distance calculation. Some devices let you calibrate distance measurements or choose different GPS settings that might be more or less aggressive in their processing.Focus on trends: Day-to-day variations in distance measurement matter less than long-term trends. Are you running farther this month than last month? That's more meaningful than whether Tuesday's run was 5.99 or 6.01 miles.Plan ahead: If hitting exact distances is important to you, plan routes that give you a small buffer. Aim for 10.1 miles if you want to ensure you hit at least 10.0 on Strava.The Strava Tax might be annoying, but every time you glance at your watch and see a distance, remember: there's a satellite constellation, multiple algorithms, and several companies' worth of engineering decisions all working together to give you that number. And sometimes, despite all that technology, you still end up with 9.99 miles. But hey—you still ran the distance. The GPS satellites aren't judging you, and neither should you.

Published May 31, 2025 10:00am EDT close iPhone users instructed to take immediate action to avoid data breach: 'Urgent threat' Kurt 'The CyberGuy' Knutsson discusses Elon Musk's possible priorities as he exits his role with the White House and explains the urgent warning for iPhone users to update devices after a 'massive security gap.' Data breaches are no longer rare events but a persistent problem. We’ve been seeing regular incidents at public-facing companies across various sectors, including healthcare, retail and finance. While bad actors are certainly to blame, these corporations aren’t entirely without fault. They often make it easy for hackers to access user data by failing to protect it properly. A recent example came to light when a cybersecurity researcher discovered an open database containing over 184 million account credentials. Illustration of a hacker at work. (Kurt "CyberGuy" Knutsson)How the database was uncovered and what it containedCybersecurity researcher Jeremiah Fowler has revealed the existence of an open database that contains 184,162,718 million account credentials. These include email addresses, passwords, usernames and URLs for platforms such as Google, Microsoft, Apple, Facebook and Snapchat. The information also covers banking services, medical platforms and government accounts. Most shockingly, the entire dataset was left completely unsecured. There was no encryption, no authentication required and no form of access control. It was simply a plain text file sitting online for anyone to find.19 BILLION PASSWORDS HAVE LEAKED ONLINE: HOW TO PROTECT YOURSELFFowler located the database during routine scanning of publicly exposed assets. What he found was staggering. The file included hundreds of millions of unique records containing user credentials linked to the world’s largest technology and communication platforms. There were also account details for financial services and official portals used by state institutions.The file was not protected in any way. Anyone who discovered the link could open it in a browser and instantly view sensitive personal data. No software exploit was needed. No password was asked for. It was as open as a public document. Illustration of a hacker at work. (Kurt "CyberGuy" Knutsson)Where did the data come fromFowler believes the data was harvested using an infostealer. These lightweight tools are favored by cybercriminals for their ability to silently extract login credentials and other private information from compromised devices. Once stolen, the data is often sold on dark web forums or used in targeted attacks.After reporting the breach, the hosting provider quickly removed access to the file. However, the owner of the database remains unknown. The provider did not disclose who uploaded it or whether the database was part of a legitimate archive that was accidentally published. Fowler could not determine whether this was the result of negligence or an operation with malicious intent.To verify the data, Fowler contacted some individuals listed in the records. Several confirmed that the information was accurate. This confirmation turns what might seem like abstract statistics into something very real. These were not outdated or irrelevant details. These were live credentials that could allow anyone to hijack personal accounts in seconds.1.7 BILLION PASSWORDS LEAKED ON DARK WEB AND WHY YOURS IS AT RISK Login on a tablet. (Kurt "CyberGuy" Knutsson)6 ways to protect yourself after a data breach1. Change your password on every platform: If your login credentials have been exposed, it’s not enough to change the password on just one account. Cybercriminals often try the same combinations across multiple platforms, hoping to gain access through reused credentials. Start by updating your most critical accounts, email, banking, cloud storage and social media, then move on to others. Use a new, unique password for each platform and avoid variations of old passwords, as they can still be predictable. Consider using a password manager to generate and store complex passwords. Our top-rated password manager delivers powerful protection to help keep your accounts secure. It features real-time data breach monitoring to alert you if your login details have been exposed, plus a built-in data breach scanner that checks your saved emails, passwords and credit card information against known leak databases. A password health checker also highlights weak, reused or compromised passwords so you can strengthen your online defenses with just a few clicks. Get more details about my best expert-reviewed Password Managers of 2025 here.2. Enable two-factor authentication: Two-factor authentication, or 2FA, is a critical security feature that drastically reduces the risk of unauthorized access. Even if someone has your password, they won’t be able to log in without the second verification step, usually a one-time code sent to your phone or an authenticator app. Enable 2FA on all services that support it, especially your email, financial accounts and any service that stores sensitive personal data.3. Watch for unusual account activity: After a breach, it’s common for compromised accounts to be used for spam, scams, or identity theft. Pay close attention to signs such as login attempts from unfamiliar locations, password reset requests you didn’t initiate or unexpected messages sent from your accounts. Most platforms allow you to review login history and connected devices. If you see something off, take action immediately by changing your password and revoking suspicious sessions.4. Invest in personal data removal services: You should also consider a data removal service. Given the scale and frequency of breaches like the one described above, relying on personal caution alone is no longer enough. Automated data removal services can provide an essential extra layer of defense by continuously scanning for and helping eliminate your exposed information from data broker sites and other online sources. While no service promises to remove all your data from the internet, having a removal service is great if you want to constantly monitor and automate the process of removing your information from hundreds of sites continuously over a longer period of time. Check out my top picks for data removal services here. Get a free scan to find out if your personal information is already out on the web.5. Avoid clicking on suspicious links and use strong antivirus software: One of the most common post-breach threats is phishing. Cybercriminals often use information from leaked databases to craft convincing emails that urge you to verify your account or reset your password. Never click on links or download attachments from unknown or suspicious sources. Instead, visit websites by typing the URL directly into your browser. The best way to safeguard yourself from malicious links is to have strong antivirus software installed on all your devices. This protection can also alert you to phishing emails and ransomware scams, keeping your personal information and digital assets safe. Get my picks for the best 2025 antivirus protection winners for your Windows, Mac, Android and iOS devices.6. Keep your software and devices up to date: Many cyberattacks exploit known vulnerabilities in outdated software. Operating systems, browsers, antivirus programs and even apps need to be updated regularly to patch security flaws. Turn on automatic updates wherever possible so you’re protected as soon as fixes are released. Staying current with your software is one of the easiest and most effective ways to block malware, ransomware and spyware from infiltrating your system. Kurt’s key takeawaySecurity is not only the responsibility of companies and hosting providers. Users need to adopt better practices, including unique passwords, multifactor authentication and regular reviews of their digital footprint. The careless exposure of over 184 million credentials is not just a mistake. It is an example of how fragile our systems remain when even basic protection is absent. In an era where artificial intelligence, quantum computing, and global connectivity are reshaping technology, it is unacceptable that plain text files containing financial and governmental credentials are still left sitting online.CLICK HERE TO GET THE FOX NEWS APPDo you feel that companies are doing enough to protect your data from hackers and other cyber threats? Let us know by writing us atCyberguy.com/ContactFor more of my tech tips and security alerts, subscribe to my free CyberGuy Report Newsletter by heading to Cyberguy.com/NewsletterAsk Kurt a question or let us know what stories you'd like us to cover.Follow Kurt on his social channels:Answers to the most-asked CyberGuy questions:New from Kurt:Copyright 2025 CyberGuy.com. All rights reserved.   Kurt "CyberGuy" Knutsson is an award-winning tech journalist who has a deep love of technology, gear and gadgets that make life better with his contributions for Fox News & FOX Business beginning mornings on "FOX & Friends." Got a tech question? Get Kurt’s free CyberGuy Newsletter, share your voice, a story idea or comment at CyberGuy.com.