Since its last major redesign in 2022, Airbnb has been all about the destination: staying in homes so unique or glamorous—from McMansions with amazing pools to surrealist homes in a shoe—that they might be worth a trip unto itself. But starting today, Airbnb is expanding its purview beyond homes . . . again. It’s launching a new product called Airbnb Services, and redoubling on Airbnb Experiences (first launched in 2016). [Photo: Damien Maloney/courtesy Airbnb] What is Airbnb Services? Services considers everything that you might want to accompany that home you’re renting. Photography. A manicure. A massage or spa treatment. A personal trainer. A private chef or fully catered experience. It’s basically everything you could imagine around a wedding, weekend get-together with friends, or even a corporate retreat. Meanwhile, Experiences falls under the greater umbrella of “stuff for tourists.” These outings hosted by locals include walking tours of local landmarks, cooking classes, and shopping experiences. (They can also include something Airbnb is dubbing Airbnb Originals, which are higher-profile events like getting glammed up with Sabrina Carpenter for a day.) [Photo: Karla Ximena Ceron/courtesy Airbnb] Redesigning an app to do more stuff To offer these new features, Services and Experiences will both get their own tab right on top of the app, alongside Homes. For anyone who has booked a home on Airbnb, the biggest update will be a complete trip timeline that includes both your rental and anything else you’ve signed up to do. (Airbnb also intends to sell you on services and experiences after you’ve booked a place to stay.) Summarized, these updates might seem pretty small—and in line with Airbnb’s own experimentation for the past decade. The company has hit a mature era of its business, growing 6% year over year. Rental prices have been flat for Airbnb recently, but a bright spot pushing those earnings has been Experiences.  By pushing Experiences to a more front-and-center position in the app, and accompanying them with Services, Airbnb is pushing the pedal down on all the stuff they can make money on that’s not housing. And in doing so, it becomes as much an event planner as a vacation tool, arguably capable of upping what it can charge by tenfold.  Consider that the average vacation costs Americans about $2,800, but the average wedding costs Americans $33,000. Before this update, it would have been inconceivable to book a wedding (complete with hair, food, and entertainment) on Airbnb. After this update, it seems downright simple. Time will tell how deeply Airbnb can seep into our major events and, in turn, the deepest crevices of our wallets. But with a few tweaks to its existing formula, Airbnb is banking on being a lot more than another vacation app.

LegoGPT offers a free, open-source AI tool that turns written prompts into buildable Lego sets.

Buried in the blog posts and videos that accompanied Google's The Android Show: I/O Edition announcements was a nugget of Nothing news: The Nothing Phone 3 is going to be expensive. In an Android marketing video showcasing the company's phones, Nothing CEO Carl Pei shared that the new phone will cost around £800 when it launches this summer. That new cost is thanks to Nothing's decision to go "all-in" on the new device by including "premium materials, major performance upgrades and software that really levels things up," according to Pei. The Nothing Phone 2 launched at £580 in the UK and $600 in the US, so selling the Phone 3 at £800 is a noticeable price jump. Assuming Nothing follows through on the premium upgrades it's promising, though, maybe it'll make sense that the Phone 3 costs as much as a Pixel 9 or iPhone 16. Nothing made its name on affordable phones that have unique, premium designs. For example, the company launched the Phone 3a and Phone 3a Pro in March 2025, the budget and mid-range counterparts to the Phone 3. Both phones use mid-range chips and camera sensors, but feature a futuristic design and clever AI features that you'd expect out of a much more expensive device. Switching to trying to compete with Apple and Samsung in terms of price suggests Nothing is confident, at the very least. We'll have to wait until this summer when the Phone 3 is actually released to see if that confidence is justified.This article originally appeared on Engadget at https://www.engadget.com/mobile/smartphones/carl-pei-teases-the-all-in-nothing-phone-3-with-a-flagship-price-213023983.html?src=rss

With warmer temperatures on the horizon, it seems like everyone has outdoor living in mind, including Carl Hansen & Son. After continued success with the Embrace Collection designed by EOOS, the Danish brand is expanding the series with Embrace Outdoor Lounge Series of furniture fit for the sunniest days. The new additions include the modular Embrace Outdoor Lounge Sofa and the Embrace Lounge Table to bring comfort and craftsmanship into the open air. Call Hansen & Son’s partnership with the Austrian design trio dates back to 2015. After launching the Embrace indoor collection and latter adding an outdoor dining series, it was only a matter of time before lounge furniture entered the fold. “With the launch of the Embrace Outdoor Dining Series in 2024, it has been a natural move to now present the Embrace Outdoor Lounge Series, which brings something totally different to our outdoor collection, but at the same time has clear references to the existing Embrace Series,” shares Knud Erik Hansen, owner and CEO of Carl Hansen & Son. “We highly value our collaboration with EOOS as they bring something poetic to our collection and at the same time, they master solving design challenges in a way that is 100% EOOS and 100% Carl Hansen & Son.” Crafted from hand-woven flat rope and solid FSC-certified teak wood, the Embrace Outdoor Lounge Sofa channels the original Embrace Sofa with its clean lines and integrated wooden tables, but with outdoor living in mind. The back- and armrests may feel familiar, echoing traditional outdoor furniture, but the quality sets it apart – neach backrest takes up to six hours to weave by hand. With seven modular components and six textile colorways to choose from, the sofa can be customized to fit any space or style. While teak is naturally durable, the Embrace Outdoor Lounge Sofa goes further. Every part is removable, making it easy to repair or replace individual elements. This thoughtful detail not only supports longevity but also reinforces Carl Hansen & Søn’s commitment to sustainable, timeless design. To complement the seating, the Embrace lounge collection also introduces the circular Embrace Lounge Table. Though it carries the same design language as its indoor predecessors, inspired by kites and their wires, this version is crafted from untreated teak to weather beautifully over time. A total of 43 teak pieces come together in a striking daisy pattern – an intricate detail that speaks to the craftsmanship behind every piece. The original Embrace collection proves that design this good deserves to live outdoors too. With its superior craftsmanship and modular flexibility, the Embrace Outdoor Lounge series brings refined comfort to outdoor spaces everywhere. To learn more about the Embrace Outdoor collection by EOOS, visit carlhansen.com. Photography courtesy of Carl Hansen & Søn.

The developers at Raven Software released a new update for Call of Duty: Warzone on May 13, which extends the ongoing High Art event. The new Call of Duty: Warzone update brings some bug fixes as well, including a crucial fix to an issue that was affecting in-game movement while aiming down sights.

Sometimes being a millennial has its payoffs. Sure, a lot of us will probably never own a home and are riddled with student-loan debt, but anyone born between the early 1980s and mid-1990s was blessed to witness and experience the incredible evolution of both video games and skateboarding.I remember the first time I played Tony Hawk's Pro Skater games. It was Christmas 2001 when I got Pro Skater 3 for GameCube, along with my first skateboard ever, a World Industries Flame Boy deck. I got obsessed with playing Pro Skater 2 on N64 with my fellow gaming buddies and had to finally snag a copy of my own. Not only did Pro Skater inspire me to explore the world of skateboarding more, leading to binge-watching X Games and convincing my parents to take me to Tony Hawk's Boom Boom Huck Jam, but it also got me to explore more of the Southern California punk scene, which basically became my main playlist for the next 20 something years of my life. Those years were crucial to developing my personality, and although I stopped playing the series after Pro Skater 4 and Underground, I often bring up how much those early THPS games shaped the 35-year-old dorky punk I am today.Fast-forward many years, and Tony Hawk's Pro Skater 1 + 2 remakes were released and became a huge success that essentially turned the series around after the failed Pro Skater 5. When I heard that a combined Tony Hawk's Pro Skater 3 + 4 remake was finally happening with a new studio, Iron Galaxy, who previously worked with Activision and Vicarious Visions on the 1 + 2 remakes, I was ecstatic to see how it would turn out. Will my muscle memory come back, or will it feel like learning a brand-new game? Will it keep the same silliness and passion as the originals, or fall off the rails--no pun intended? After having the opportunity to explore a few hours of the remake, I've just got to say: The sassy, skating 12-year-old me could not be happier.Continue Reading at GameSpot

Templo has created designs inspired by tectonic plates for the British Pavilion at this year’s Venice Biennale. The London-based studio worked on the visual identity, exhibition graphics, global marketing campaign and digital content for the pavilion, which has been commissioned by the British Council since 1937. It’s the third pavilion Templo has worked on, after they came through what Joanne Jolley, the British Council’s head of marketing, arts, called a “robust procurement process,” which included a paid creative pitch. “Templo stood out from the very beginning for their clear understanding of, and sensitivity to, the issues around the 2023 pavilion, which explored the everyday rituals of diaspora communities,” she says. “They know how to communicate these complicated subjects, but also bring joy into them through their designs.” Each year’s identity is treated as a new project, because the themes of each pavilion are very different, as is the level of input each curatorial team wants and expects into the process. For this year’s pavilion, commissioner Sevra Davis wanted to bring the British Council’s overarching mission – to foster ”cross cultural connection and collaboration”– into its Venice presence. “It struck me that this was a way to use the pavilion to celebrate what the British Council does in every other way, which is to connect across cultures to build trust, build connection, and build understanding,” Davis says. “I got a lot of flack for it, because people thought I had narrowed it down too much. But I think it’s incredibly exciting, the process of working together with the team in Kenya and other people all around the world. That’s what the British Council is all about, and so this becomes an exemplar of that.” Templo’s identity for this year’s British pavilion at the Venice Biennale Produced as part of the British Council’s UK/Kenya season of culture, this year’s exhibition looks “to examine the relationship between architecture and colonisation as parallel, interconnected systems.” GBR – Geology of Britannic Repair takes inspiration from the pavilion’s location on an axis that links the UK to Kenya and the Rift Valley, raising questions about power, politics, and identity. Installations include maps of the night sky above London and Nairobi the day Kenya gained independence from Britain in 1963, a bronze cast of the Rift Valley, and a room that explores how salvage materials could be used to rebuild war-torn Gaza. For Templo’s Pali Palavathanan and Anoushka Rodda, the approach spoke to many of their personal and professional interests. “Myself being Sri Lankan, and Anoushka’s family coming from Lebanon, which is the start of the Rift Valley, there were a lot of connections to who we are as a studio, and what we’re drawn to,” Palavathanan explains. This year’s British pavilion with its veil of beads This year’s British pavilion with its veil of beads The design approach was inspired by the veil of beads, made from agricultural waste and clay, which covers the angular British pavilion. The covering “softens and curves out this harsh imperial building,” Palavathanan says. They took a similar approach to the typeface, choosing Lithic for its angular, imperial sensibility and then using a “bevel effect to round off its harsh edges.” The secondary font is Flexa, chosen for its practical legibility. The red, green and black colour palette is taken from the Kenyan flag – despite Palavathanan’s initial misgivings that it would look “chaotic” – and the motion design is built on geological references. “Originally it was quite linear, but then we made it more like tectonic plates, like a rock formation converging with one another, or pulling apart. It all ties back to those themes of rift and repair.” The result is a thrillingly unusual combination of rhythms and patterns that feels very organic. And it speaks to one of Templo’s biggest challenges – to reflect the weighty subject matter of this year’s pavilion without making it feel too sombre. https://d3faj0w6aqatyx.cloudfront.net/uploads/2025/05/02-Geology-of-Britannic-Repair-teaser.mp4 “It’s an incredibly serious exhibition,” Palavathanan says. “It’s dealing with difficult things, but we want to be optimistic and playful in some ways, and the visual identity helps us to do that.” For Rodda, the fact that they know the British Council team so well gives them the confidence to push the creative direction. “The nice thing about these ongoing relationships is that you get a really good feel for what they prioritise, and what they find significant.” “That trust helps us push the boundaries more,” Jolley agrees. Exhibition graphics at this year’s British pavilion. Photo by Chris Lane. While around 80% of visitors to the Biennale will attend the UK exhibition, for Jolley and her team, a major focus is on the much bigger audience who won’t see the pavilion in person. Templo created a flythrough video so people can get a sense of how the exhibition unfolds, and they are also working with Kenyan influencers to create content that responds to this year’s themes. “We have to think a bit differently about how we can enrich the experience for people who won’t go to the exhibition,” Rodda says. “I think this the first time the British Council has done this, handing over control of part of the campaign.” Templo’s identity for this year’s British pavilion at the Venice Biennale Templo’s identity for this year’s British pavilion at the Venice Biennale Templo’s identity for this year’s British pavilion at the Venice Biennale Templo’s identity for this year’s British pavilion at the Venice Biennale

An anonymous reader quotes a report from 404 Media: Late last night, House Republicans introduced new language to the Budget Reconciliation bill that will immiserate the lives of millions of Americans by cutting their access to Medicaid, and making life much more difficult for millions more by making them pay higher fees when they seek medical care. While a lot of attention will be justifiably given to these cuts, the bill has also crammed in new language that attempts to entirely stop states from enacting any regulation against artificial intelligence. "...no State or political subdivision thereof may enforce any law or regulation regulating artificial intelligence models, artificial intelligence systems, or automated decision systems during the 10 year period beginning on the date of the enactment of this Act," says the text of the bill introduced Sunday night by Congressman Brett Guthrie of Kentucky, Chairman of the House Committee on Energy and Commerce. The text of the bill will be considered by the House at the budget reconciliation markup on May 13. That language of the bill, how it goes on to define AI and other "automated systems," and what it considers "regulation," is broad enough to cover relatively new generative AI tools and technology that has existed for much longer. In theory, that language will make it impossible to enforce many existing and proposed state laws that aim to protect people from and inform them about AI systems. [...] In theory none of these states will be able to enforce these laws if Republicans manage to pass the Budget Reconciliation bill with this current language. Read more of this story at Slashdot.