ILM teams with Ben Stiller and Apple TV+ to bring thousands of seamless visual effects shots to the hit drama’s second season. By Clayton Sandell There are mysterious and important secrets to be uncovered in the second season of the wildly popular Apple TV+ series Severance (2022-present). About 3,500 of them are hiding in plain sight. That’s roughly the number of visual effects shots helping tell the Severance story over 10 gripping episodes in the latest season, a collaborative effort led by Industrial Light & Magic. ILM’s Eric Leven served as the Severance season two production visual effects supervisor. We asked him to help pull back the curtain on some of the show’s impressive digital artistry that most viewers will probably never notice. “This is the first show I’ve ever done where it’s nothing but invisible effects,” Leven tells ILM.com. “It’s a really different calculus because nobody talks about them. And if you’ve done them well, they are invisible to the naked eye.” With so many season two shots to choose from, Leven helped us narrow down a list of his favorite visual effects sequences to five. (As a bonus, we’ll also dive into an iconic season finale shot featuring the Mr. Milchick-led marching band.) Before we dig in, a word of caution. This article contains plot spoilers for Severance. (And in case you’re already wondering: No, the goats are not computer-graphics.) Severance tells the story of Mark Scout (Adam Scott), department chief of the secretive Severed Floor located in the basement level of Lumon Industries, a multinational biotech corporation. Mark S., as he’s known to his co-workers, heads up Macrodata Refinement (MDR), a department where employees help categorize numbers without knowing the true purpose of their work.  Mark and his team – Helly R. (Britt Lower), Dylan G. (Zach Cherry), and Irving B. (John Turturro), have all undergone a surgical procedure to “sever” their personal lives from their work lives. The chip embedded in their brains effectively creates two personalities that are sometimes at odds: an “Innie” during Lumon office hours and an “Outie” at home. “This is the first show I’ve ever done where it’s nothing but invisible effects. It’s a really different calculus because nobody talks about them. And if you’ve done them well, they are invisible to the naked eye.”Eric Leven 1. The Running Man (Episode 201: “Hello, Ms. Cobel”) The season one finale ends on a major cliffhanger. Mark S. learns that his Outie’s wife, Gemma – believed killed in a car crash years ago – is actually alive somewhere inside the Lumon complex. Season two opens with Mark S. arriving at the Severed Floor in a desperate search for Gemma, who he only knows as her Innie persona, Ms. Casey. The fast-paced sequence is designed to look like a single, two-minute shot. It begins with the camera making a series of rapid and elaborate moves around a frantic Mark S. as he steps out of the elevator, into the Severed Floor lobby, and begins running through the hallways. “The nice thing about that sequence was that everyone knew it was going to be difficult and challenging,” Leven says, adding that executive producer and Episode 201 director, Ben Stiller, began by mapping out the hallway run with his team. Leven recommended that a previsualization sequence – provided by The Third Floor – would help the filmmakers refine their plan before cameras rolled. “While prevising it, we didn’t worry about how we would actually photograph anything. It was just, ‘These are the visuals we want to capture,’” Leven says. “‘What does it look like for this guy to run down this hallway for two minutes? We’ll figure out how to shoot it later.’” The previs process helped determine how best to shoot the sequence, and also informed which parts of the soundstage set would have to be digitally replaced. The first shot was captured by a camera mounted on a Bolt X Cinebot motion-control arm provided by The Garage production company. The size of the motion-control setup, however, meant it could not fit in the confined space of an elevator or the existing hallways. “We couldn’t actually shoot in the elevator,” Leven says. “The whole elevator section of the set was removed and was replaced with computer graphics [CG].” In addition to the elevator, ILM artists replaced portions of the floor, furniture, and an entire lobby wall, even adding a reflection of Adam Scott into the elevator doors. As Scott begins running, he’s picked up by a second camera mounted on a more compact, stabilized gimbal that allows the operator to quickly run behind and sometimes in front of the actor as he darts down different hallways. ILM seamlessly combined the first two Mark S. plates in a 2D composite. “Part of that is the magic of the artists at ILM who are doing that blend. But I have to give credit to Adam Scott because he ran the same way in both cameras without really being instructed,” says Leven. “Lucky for us, he led with the same foot. He used the same arm. I remember seeing it on the set, and I did a quick-and-dirty blend right there and thought, ‘Oh my gosh, this is going to work.’ So it was really nice.” The action continues at a frenetic pace, ultimately combining ten different shots to complete the sequence. “We didn’t want the very standard sleight of hand that you’ve seen a lot where you do a wipe across the white hallway,” Leven explains. “We tried to vary that as much as possible because we didn’t want to give away the gag. So, there are times when the camera will wipe across a hallway, and it’s not a computer graphics wipe. We’d hide the wipe somewhere else.” A slightly more complicated illusion comes as the camera sweeps around Mark S. from back to front as he barrels down another long hallway. “There was no way to get the camera to spin around Mark while he is running because there’s physically not enough room for the camera there,” says Leven. To capture the shot, Adam Scott ran on a treadmill placed on a green screen stage as the camera maneuvered around him. At that point, the entire hallway environment is made with computer graphics. Artists even added a few extra frames of the actor to help connect one shot to the next, selling the illusion of a single continuous take. “We painted in a bit of Adam Scott running around the corner. So if you freeze and look through it, you’ll see a bit of his heel. He never completely clears the frame,” Leven points out. Leven says ILM also provided Ben Stiller with options when it came to digitally changing up the look of Lumon’s sterile hallways: sometimes adding extra doors, vents, or even switching door handles. “I think Ben was very excited about having this opportunity,” says Leven. “He had never had a complete, fully computer graphics version of these hallways before. And now he was able to do things that he was never able to do in season one.” (Credit: Apple TV+). 2. Let it Snow (Episode 204: “Woe’s Hollow”) The MDR team – Mark, Helly, Dylan, and Irving – unexpectedly find themselves in the snowy wilderness as part of a two-day Lumon Outdoor Retreat and Team-Building Occurrence, or ORTBO.  Exterior scenes were shot on location at Minnewaska State Park Preserve in New York. Throughout the ORTBO sequence, ILM performed substantial environment enhancements, making trees and landscapes appear far snowier than they were during the shoot. “It’s really nice to get the actors out there in the cold and see their breath,” Leven says. “It just wasn’t snowy during the shoot. Nearly every exterior shot was either replaced or enhanced with snow.” For a shot of Irving standing on a vast frozen lake, for example, virtually every element in the location plate – including an unfrozen lake, mountains, and trees behind actor John Turturro – was swapped out for a CG environment. Wide shots of a steep, rocky wall Irving must scale to reach his co-workers were also completely digital. Eventually, the MDR team discovers a waterfall that marks their arrival at a place called Woe’s Hollow. The location – the state park’s real-life Awosting Falls – also got extensive winter upgrades from ILM, including much more snow covering the ground and trees, an ice-covered pond, and hundreds of icicles clinging to the rocky walls. “To make it fit in the world of Severance, there’s a ton of work that has to happen,” Leven tells ILM.com. (Credit: Apple TV+). 3. Welcome to Lumon (Episode 202: “Goodbye, Mrs. Selvig” & Episode 203: “Who is Alive?”) The historic Bell Labs office complex, now known as Bell Works in Holmdel Township, New Jersey, stands in as the fictional Lumon Industries headquarters building. Exterior shots often underwent a significant digital metamorphosis, with artists transforming areas of green grass into snow-covered terrain, inserting a CG water tower, and rendering hundreds of 1980s-era cars to fill the parking lot. “We’re always adding cars, we’re always adding snow. We’re changing, subtly, the shape and the layout of the design,” says Leven. “We’re seeing new angles that we’ve never seen before. On the roof of Lumon, for example, the air conditioning units are specifically designed and created with computer graphics.” In real life, the complex is surrounded by dozens of houses, requiring the digital erasure of entire neighborhoods. “All of that is taken out,” Leven explains. “CG trees are put in, and new mountains are put in the background.” Episodes 202 and 203 feature several night scenes shot from outside the building looking in. In one sequence, a camera drone flying outside captured a long tracking shot of Helena Eagan (Helly R.’s Outie) making her way down a glass-enclosed walkway. The building’s atrium can be seen behind her, complete with a massive wall sculpture depicting company founder Kier Eagan. “We had to put the Kier sculpture in with the special lighting,” Leven reveals. “The entire atrium was computer graphics.” Artists completed the shot by adding CG reflections of the snowy parking lot to the side of the highly reflective building. “We have to replace what’s in the reflections because the real reflection is a parking lot with no snow or a parking lot with no cars,” explains Leven. “We’re often replacing all kinds of stuff that you wouldn’t think would need to be replaced.” Another nighttime scene shot from outside the building features Helena in a conference room overlooking the Lumon parking lot, which sits empty except for Mr. Milchick (Tramell Tillman) riding in on his motorcycle. “The top story, where she is standing, was practical,” says Leven, noting the shot was also captured using a drone hovering outside the window. “The second story below her was all computer graphics. Everything other than the building is computer graphics. They did shoot a motorcycle on location, getting as much practical reference as possible, but then it had to be digitally replaced after the fact to make it work with the rest of the shot.” (Credit: Apple TV+). 4. Time in Motion (Episode 207: “Chikhai Bardo”) Episode seven reveals that MDR’s progress is being monitored by four dopplegang-ish observers in a control room one floor below, revealed via a complex move that has the camera traveling downward through a mass of data cables. “They built an oversize cable run, and they shot with small probe lenses. Visual effects helped by blending several plates together,” explains Leven. “It was a collaboration between many different departments, which was really nice. Visual effects helped with stuff that just couldn’t be shot for real. For example, when the camera exits the thin holes of the metal grate at the bottom of the floor, that grate is computer graphics.” The sequence continues with a sweeping motion-control time-lapse shot that travels around the control-room observers in a spiral pattern, a feat pulled off with an ingenious mix of technical innovation and old-school sleight of hand. A previs sequence from The Third Floor laid out the camera move, but because the Bolt arm motion-control rig could only travel on a straight track and cover roughly one-quarter of the required distance, The Garage came up with a way to break the shot into multiple passes. The passes would later be stitched together into one seemingly uninterrupted movement. The symmetrical set design – including the four identical workstations – helped complete the illusion, along with a clever solution that kept the four actors in the correct position relative to the camera. “The camera would basically get to the end of the track,” Leven explains. “Then everybody would switch positions 90 degrees. Everyone would get out of their chairs and move. The camera would go back to one, and it would look like one continuous move around in a circle because the room is perfectly symmetrical, and everything in it is perfectly symmetrical. We were able to move the actors, and it looks like the camera was going all the way around the room.” The final motion-control move switches from time-lapse back to real time as the camera passes by a workstation and reveals Mr. Drummond (Ólafur Darri Ólafsson) and Dr. Mauer (Robby Benson) standing behind it. Leven notes that each pass was completed with just one take. 5. Mark vs. Mark (Episode 210: “Cold Harbor”) The Severance season two finale begins with an increasingly tense conversation between Innie Mark and Outie Mark, as the two personas use a handheld video camera to send recorded messages back and forth. Their encounter takes place at night in a Lumon birthing cabin equipped with a severance threshold that allows Mark S. to become Mark Scout each time he steps outside and onto the balcony. The cabin set was built on a soundstage at York Studios in the Bronx, New York. The balcony section consisted of the snowy floor, two chairs, and a railing, all surrounded by a blue screen background. Everything else was up to ILM to create. “It was nice to have Ben’s trust that we could just do it,” Leven remembers. “He said, ‘Hey, you’re just going to make this look great, right?’ We said, ‘Yeah, no problem.’” Artists filled in the scene with CG water, mountains, and moonlight to match the on-set lighting and of course, more snow. As Mark Scout steps onto the balcony, the camera pulls back to a wide shot, revealing the cabin’s full exterior. “They built a part of the exterior of the set. But everything other than the windows, even the railing, was digitally replaced,” Leven says. “It was nice to have Ben [Stiller’s] trust that we could just do it. He said, ‘Hey, you’re just going to make this look great, right?’ We said, ‘Yeah, no problem.’”Eric Leven Bonus: Marching Band Magic (Episode 210: “Cold Harbor”) Finally, our bonus visual effects shot appears roughly halfway through the season finale. To celebrate Mark S. completing the Cold Harbor file, Mr. Milchick orders up a marching band from Lumon’s Choreography and Merriment department. Band members pour into MDR, but Leven says roughly 15 to 20 shots required adding a few more digital duplicates. “They wanted it to look like MDR was filled with band members. And for several of the shots there were holes in there. It just didn’t feel full enough,” he says. In a shot featuring a God’s-eye view of MDR, band members hold dozens of white cards above their heads, forming a giant illustration of a smiling Mark S. with text that reads “100%.” “For the top shot, we had to find a different stage because the MDR ceiling is only about eight feet tall,” recalls Leven. “And Ben really pushed to have it done practically, which I think was the right call because you’ve already got the band members, you’ve made the costumes, you’ve got the instruments. Let’s find a place to shoot it.” To get the high shot, the production team set up on an empty soundstage, placing signature MDR-green carpet on the floor. A simple foam core mock-up of the team’s desks occupied the center of the frame, with the finished CG versions added later. Even without the restraints of the practical MDR walls and ceiling, the camera could only get enough height to capture about 30 band members in the shot. So the scene was digitally expanded, with artists adding more green carpet, CG walls, and about 50 more band members. “We painted in new band members, extracting what we could from the practical plate,” Leven says. “We moved them around; we added more, just to make it look as full as Ben wanted.” Every single white card in the shot, Leven points out, is completely digital. (Credit: Apple TV+). A Mysterious and Important Collaboration With fans now fiercely debating the many twists and turns of Severance season two, Leven is quick to credit ILM’s two main visual effects collaborators: east side effects and Mango FX INC, as well as ILM studios and artists around the globe, including San Francisco, Vancouver, Singapore, Sydney, and Mumbai. Leven also believes Severance ultimately benefited from a successful creative partnership between ILM and Ben Stiller. “This one clicked so well, and it really made a difference on the show,” Leven says. “I think we both had the same sort of visual shorthand in terms of what we wanted things to look like. One of the things I love about working with Ben is that he’s obviously grounded in reality. He wants to shoot as much stuff real as possible, but then sometimes there’s a shot that will either come to him late or he just knows is impractical to shoot. And he knows that ILM can deliver it.” — Clayton Sandell is a Star Wars author and enthusiast, TV storyteller, and a longtime fan of the creative people who keep Industrial Light & Magic and Skywalker Sound on the leading edge of visual effects and sound design. Follow him on Instagram (@claytonsandell) Bluesky (@claytonsandell.com) or X (@Clayton_Sandell).

Two satellite heavyweights are about to form a European rival to Starlink. But they’ll face an uphill battle to compete with Elon Musk’s firm. Luxembourg-based SES’ proposed $3.1bn takeover of Intelsat is set to get the green light from EU officials, Reuters reports. A final verdict is expected by June 10.   SES first announced plans to acquire Luxembourgish-American rival Intelsat in April 2024, calling it a “transformational merger” that could reshape the satellite internet market. The merged company would have a fleet of more than 100 geostationary and 26 medium Earth orbit satellites. Intelsat would contribute 75 of those probes, which provide a range of services, including TV, radio, satellite internet, and secure communications for governments and militaries. A SES-Intelsat tie-up would create Europe’s second-largest satellite internet provider, after Franco-British firm Eutelsat. Smaller contenders include the UK’s Inmarsat and Spain’s Hisdesat.  Combined, Europe’s satellite firms could offer the continent much-sought alternatives to Musk’s Starlink or Amazon’s Project Kuiper, at a time when tech sovereignty is high on the political agenda.  European leaders are increasingly concerned about relying on Starlink. Their fears have been stoked by reports that US officials threatened to cut off the system in Ukraine if the country didn’t meet their demands on sharing its mineral wealth.   The situation raised doubts about the security implications of Ukraine — and broader Europe — relying on a single, privately owned network whose boss has direct ties to the Trump administration. Eustalstat, SES, Inmarsat, and Hisdesat reportedly entered talks with EU governments in March about providing back-up connectivity to Ukraine.  Despite the SES–Intelsat merger creating a more formidable European player, the new alliance will still face a daunting challenge against Starlink’s dominance.  Musk’s firm dwarfs its competitors in satellite numbers, with over 7,000 in low-Earth orbit (LEO). Its closest rival, Eutelsat, has around 600. Meanwhile, Amazon’s Project Kuiper is planning to deploy a constellation of 3,236 satellites.   Being part of SpaceX also affords Starlink direct access to satellite manufacturing and launch capacity. In contrast, SES and Intelsat depend on third-party launch providers and currently lack a proprietary low-Earth orbit network. While Intelsat has a $250mn agreement to access Eutelsat’s LEO capacity, this reliance on external constellations puts the merged entity at a disadvantage.  Even when combined with Europe’s other players — including Eutelsat, Inmarsat, and Hisdesat — the proposed merger pales in comparison. As European policymakers push for strategic autonomy in space, the SES–Intelsat merger may be a step in the right direction, but it’s still a far cry from a true Starlink rival.

Matali Physics 6.9 Presents Physics-driven, Completely Dynamic Light Sources Published June 02, 2025 Advertisement We are pleased to announce the release of Matali Physics 6.9, the next significant step on the way to the seventh major version of the environment. Matali Physics 6.9 introduces a number of improvements and fixes to Matali Physics Core, Matali Render and Matali Games modules, presents physics-driven, completely dynamic light sources, real-time object scaling with destruction, lighting model simulating global illumination (GI) in some aspects, comprehensive support for Wayland on Linux, improved simulation of stacked objects, improved physics-based photo mode, introduces optimizations for Steam Deck portable gaming console and Linux as well as provides a refreshed Matali Physics Game demo. What is Matali Physics?Matali Physics is an advanced, modern, multi-platform, high-performance 3d physics environment intended for games, VR, AR, physics-based simulations and robotics. Matali Physics consists of the advanced 3d physics engine Matali Physics Core and other physics-driven modules that all together provide comprehensive simulation of physical phenomena and physics-based modeling of both real and imaginary objects.What's new in version 6.9?Physics-driven, completely dynamic light sources. The introduced solution allows for processing hundreds of movable, long-range and shadow-casting light sources, where with each source can be assigned logic that controls its behavior, changes light parameters, volumetric effects parameters and others;Real-time object scaling with destruction. All groups of physics objects and groups of physics objects with constraints may be subject to destruction process during real-time scaling, allowing group members to break off at different sizes;Lighting model simulating global illumination (GI) in some aspects. Based on own research and development work, processed in real time, ready for dynamic scenes, fast on mobile devices, not based on lightmaps, light probes, baked lights, etc.;Comprehensive support for Wayland on Linux. The latest version allows Matali Physics SDK users to create advanced, high-performance, physics-based, Vulkan-based games for modern Linux distributions where Wayland is the main display server protocol;Other improvements and fixes which complete list is available on the History webpage.What platforms does Matali Physics support?AndroidAndroid TV*BSDiOSiPadOSLinux (distributions)macOSSteam DecktvOSUWP (Desktop, Xbox Series X/S)Windows (Classic, GDK, Handheld consoles)What are the benefits of using Matali Physics?Physics simulation, graphics, sound and music integrated into one total multimedia solution where creating complex interactions and behaviors is common and relatively easyComposed of dedicated modules that do not require additional licences and feesSupports fully dynamic and destructible scenesSupports physics-based behavioral animationsSupports physical AI, object motion and state change controlSupports physics-based GUISupports physics-based particle effectsSupports multi-scene physics simulation and scene combiningSupports physics-based photo modeSupports physics-driven soundSupports physics-driven musicSupports debug visualizationFully serializable and deserializableAvailable for all major mobile, desktop and TV platformsNew features on requestDedicated technical supportRegular updates and fixesIf you have questions related to the latest version and the use of Matali Physics environment as a game creation solution, please do not hesitate to contact us.  Cancel Save 0 likes 0 comments Comments Nobody has left a comment. You can be the first! You must log in to join the conversation. Don't have a GameDev.net account? Sign up!

Once again, Sam Altman wants to show you the future. The CEO of OpenAI is standing on a sparse stage in San Francisco, preparing to reveal his next move to an attentive crowd. “We needed some way for identifying, authenticating humans in the age of AGI,” Altman explains, referring to artificial general intelligence. “We wanted a way to make sure that humans stayed special and central.” The solution Altman came up with is looming behind him. It’s a white sphere about the size of a beach ball, with a camera at its center. The company that makes it, known as Tools for Humanity, calls this mysterious device the Orb. Stare into the heart of the plastic-and-silicon globe and it will map the unique furrows and ciliary zones of your iris. Seconds later, you’ll receive inviolable proof of your humanity: a 12,800-digit binary number, known as an iris code, sent to an app on your phone. At the same time, a packet of cryptocurrency called Worldcoin, worth approximately $42, will be transferred to your digital wallet—your reward for becoming a “verified human.” Altman co-founded Tools for Humanity in 2019 as part of a suite of companies he believed would reshape the world. Once the tech he was developing at OpenAI passed a certain level of intelligence, he reasoned, it would mark the end of one era on the Internet and the beginning of another, in which AI became so advanced, so human-like, that you would no longer be able to tell whether what you read, saw, or heard online came from a real person. When that happened, Altman imagined, we would need a new kind of online infrastructure: a human-verification layer for the Internet, to distinguish real people from the proliferating number of bots and AI “agents.”And so Tools for Humanity set out to build a global “proof-of-humanity” network. It aims to verify 50 million people by the end of 2025; ultimately its goal is to sign up every single human being on the planet. The free crypto serves as both an incentive for users to sign up, and also an entry point into what the company hopes will become the world’s largest financial network, through which it believes “double-digit percentages of the global economy” will eventually flow. Even for Altman, these missions are audacious. “If this really works, it’s like a fundamental piece of infrastructure for the world,” Altman tells TIME in a video interview from the passenger seat of a car a few days before his April 30 keynote address.Internal hardware of the Orb in mid-assembly in March. Davide Monteleone for TIMEThe project’s goal is to solve a problem partly of Altman’s own making. In the near future, he and other tech leaders say, advanced AIs will be imbued with agency: the ability to not just respond to human prompting, but to take actions independently in the world. This will enable the creation of AI coworkers that can drop into your company and begin solving problems; AI tutors that can adapt their teaching style to students’ preferences; even AI doctors that can diagnose routine cases and handle scheduling or logistics. The arrival of these virtual agents, their venture capitalist backers predict, will turbocharge our productivity and unleash an age of material abundance.But AI agents will also have cascading consequences for the human experience online. “As AI systems become harder to distinguish from people, websites may face difficult trade-offs,” says a recent paper by researchers from 25 different universities, nonprofits, and tech companies, including OpenAI. “There is a significant risk that digital institutions will be unprepared for a time when AI-powered agents, including those leveraged by malicious actors, overwhelm other activity online.” On social-media platforms like X and Facebook, bot-driven accounts are amassing billions of views on AI-generated content. In April, the foundation that runs Wikipedia disclosed that AI bots scraping their site were making the encyclopedia too costly to sustainably run. Later the same month, researchers from the University of Zurich found that AI-generated comments on the subreddit /r/ChangeMyView were up to six times more successful than human-written ones at persuading unknowing users to change their minds.  Photograph by Davide Monteleone for TIMEBuy a copy of the Orb issue hereThe arrival of agents won’t only threaten our ability to distinguish between authentic and AI content online. It will also challenge the Internet’s core business model, online advertising, which relies on the assumption that ads are being viewed by humans. “The Internet will change very drastically sometime in the next 12 to 24 months,” says Tools for Humanity CEO Alex Blania. “So we have to succeed, or I’m not sure what else would happen.”For four years, Blania’s team has been testing the Orb’s hardware abroad. Now the U.S. rollout has arrived. Over the next 12 months, 7,500 Orbs will be arriving in dozens of American cities, in locations like gas stations, bodegas, and flagship stores in Los Angeles, Austin, and Miami. The project’s founders and fans hope the Orb’s U.S. debut will kickstart a new phase of growth. The San Francisco keynote was titled: “At Last.” It’s not clear the public appetite matches the exultant branding. Tools for Humanity has “verified” just 12 million humans since mid 2023, a pace Blania concedes is well behind schedule. Few online platforms currently support the so-called “World ID” that the Orb bestows upon its visitors, leaving little to entice users to give up their biometrics beyond the lure of free crypto. Even Altman isn’t sure whether the whole thing can work. “I can see [how] this becomes a fairly mainstream thing in a few years,” he says. “Or I can see that it’s still only used by a small subset of people who think about the world in a certain way.” Blania (left) and Altman debut the Orb at World’s U.S. launch in San Francisco on April 30, 2025. Jason Henry—The New York Times/ReduxYet as the Internet becomes overrun with AI, the creators of this strange new piece of hardware are betting that everybody in the world will soon want—or need—to visit an Orb. The biometric code it creates, they predict, will become a new type of digital passport, without which you might be denied passage to the Internet of the future, from dating apps to government services. In a best-case scenario, World ID could be a privacy-preserving way to fortify the Internet against an AI-driven deluge of fake or deceptive content. It could also enable the distribution of universal basic income (UBI)—a policy that Altman has previously touted—as AI automation transforms the global economy. To examine what this new technology might mean, I reported from three continents, interviewed 10 Tools for Humanity executives and investors, reviewed hundreds of pages of company documents, and “verified” my own humanity. The Internet will inevitably need some kind of proof-of-humanity system in the near future, says Divya Siddarth, founder of the nonprofit Collective Intelligence Project. The real question, she argues, is whether such a system will be centralized—“a big security nightmare that enables a lot of surveillance”—or privacy-preserving, as the Orb claims to be. Questions remain about Tools for Humanity’s corporate structure, its yoking to an unstable cryptocurrency, and what power it would concentrate in the hands of its owners if successful. Yet it’s also one of the only attempts to solve what many see as an increasingly urgent problem. “There are some issues with it,” Siddarth says of World ID. “But you can’t preserve the Internet in amber. Something in this direction is necessary.”In March, I met Blania at Tools for Humanity’s San Francisco headquarters, where a large screen displays the number of weekly “Orb verifications” by country. A few days earlier, the CEO had attended a $1 million-per-head dinner at Mar-a-Lago with President Donald Trump, whom he credits with clearing the way for the company’s U.S. launch by relaxing crypto regulations. “Given Sam is a very high profile target,” Blania says, “we just decided that we would let other companies fight that fight, and enter the U.S. once the air is clear.” As a kid growing up in Germany, Blania was a little different than his peers. “Other kids were, like, drinking a lot, or doing a lot of parties, and I was just building a lot of things that could potentially blow up,” he recalls. At the California Institute of Technology, where he was pursuing research for a masters degree, he spent many evenings reading the blogs of startup gurus like Paul Graham and Altman. Then, in 2019, Blania received an email from Max Novendstern, an entrepreneur who had been kicking around a concept with Altman to build a global cryptocurrency network. They were looking for technical minds to help with the project. Over cappuccinos, Altman told Blania he was certain about three things. First, smarter-than-human AI was not only possible, but inevitable—and it would soon mean you could no longer assume that anything you read, saw, or heard on the Internet was human-created. Second, cryptocurrency and other decentralized technologies would be a massive force for change in the world. And third, scale was essential to any crypto network’s value. The Orb is tested on a calibration rig, surrounded by checkerboard targets to ensure precision in iris detection. Davide Monteleone for TIMEThe goal of Worldcoin, as the project was initially called, was to combine those three insights. Altman took a lesson from PayPal, the company co-founded by his mentor Peter Thiel. Of its initial funding, PayPal spent less than $10 million actually building its app—but pumped an additional $70 million or so into a referral program, whereby new users and the person who invited them would each receive $10 in credit. The referral program helped make PayPal a leading payment platform. Altman thought a version of that strategy would propel Worldcoin to similar heights. He wanted to create a new cryptocurrency and give it to users as a reward for signing up. The more people who joined the system, the higher the token’s value would theoretically rise. Since 2019, the project has raised $244 million from investors like Coinbase and the venture capital firm Andreessen Horowitz. That money paid for the $50 million cost of designing the Orb, plus maintaining the software it runs on. The total market value of all Worldcoins in existence, however, is far higher—around $12 billion. That number is a bit misleading: most of those coins are not in circulation and Worldcoin’s price has fluctuated wildly. Still, it allows the company to reward users for signing up at no cost to itself. The main lure for investors is the crypto upside. Some 75% of all Worldcoins are set aside for humans to claim when they sign up, or as referral bonuses. The remaining 25% are split between Tools for Humanity’s backers and staff, including Blania and Altman. “I’m really excited to make a lot of money,” ” Blania says.From the beginning, Altman was thinking about the consequences of the AI revolution he intended to unleash. (On May 21, he announced plans to team up with famed former Apple designer Jony Ive on a new AI personal device.) A future in which advanced AI could perform most tasks more effectively than humans would bring a wave of unemployment and economic dislocation, he reasoned. Some kind of wealth redistribution might be necessary. In 2016, he partially funded a study of basic income, which gave $1,000 per-month handouts to low-income individuals in Illinois and Texas. But there was no single financial system that would allow money to be sent to everybody in the world. Nor was there a way to stop an individual human from claiming their share twice—or to identify a sophisticated AI pretending to be human and pocketing some cash of its own. In 2023, Tools for Humanity raised the possibility of using the network to redistribute the profits of AI labs that were able to automate human labor. “As AI advances,” it said, “fairly distributing access and some of the created value through UBI will play an increasingly vital role in counteracting the concentration of economic power.”Blania was taken by the pitch, and agreed to join the project as a co-founder. “Most people told us we were very stupid or crazy or insane, including Silicon Valley investors,” Blania says. At least until ChatGPT came out in 2022, transforming OpenAI into one of the world’s most famous tech companies and kickstarting a market bull-run. “Things suddenly started to make more and more sense to the external world,” Blania says of the vision to develop a global “proof-of-humanity” network. “You have to imagine a world in which you will have very smart and competent systems somehow flying through the Internet with different goals and ideas of what they want to do, and us having no idea anymore what we’re dealing with.”After our interview, Blania’s head of communications ushers me over to a circular wooden structure where eight Orbs face one another. The scene feels like a cross between an Apple Store and a ceremonial altar. “Do you want to get verified?” she asks. Putting aside my reservations for the purposes of research, I download the World App and follow its prompts. I flash a QR code at the Orb, then gaze into it. A minute or so later, my phone buzzes with confirmation: I’ve been issued my own personal World ID and some Worldcoin.The first thing the Orb does is check if you’re human, using a neural network that takes input from various sensors, including an infrared camera and a thermometer. Davide Monteleone for TIMEWhile I stared into the Orb, several complex procedures had taken place at once. A neural network took inputs from multiple sensors—an infrared camera, a thermometer—to confirm I was a living human. Simultaneously, a telephoto lens zoomed in on my iris, capturing the physical traits within that distinguish me from every other human on Earth. It then converted that image into an iris code: a numerical abstraction of my unique biometric data. Then the Orb checked to see if my iris code matched any it had seen before, using a technique allowing encrypted data to be compared without revealing the underlying information. Before the Orb deleted my data, it turned my iris code into several derivative codes—none of which on its own can be linked back to the original—encrypted them, deleted the only copies of the decryption keys, and sent each one to a different secure server, so that future users’ iris codes can be checked for uniqueness against mine. If I were to use my World ID to access a website, that site would learn nothing about me except that I’m human. The Orb is open-source, so outside experts can examine its code and verify the company’s privacy claims. “I did a colonoscopy on this company and these technologies before I agreed to join,” says Trevor Traina, a Trump donor and former U.S. ambassador to Austria who now serves as Tools for Humanity’s chief business officer. “It is the most privacy-preserving technology on the planet.”Only weeks later, when researching what would happen if I wanted to delete my data, do I discover that Tools for Humanity’s privacy claims rest on what feels like a sleight of hand. The company argues that in modifying your iris code, it has “effectively anonymized” your biometric data. If you ask Tools for Humanity to delete your iris codes, they will delete the one stored on your phone, but not the derivatives. Those, they argue, are no longer your personal data at all. But if I were to return to an Orb after deleting my data, it would still recognize those codes as uniquely mine. Once you look into the Orb, a piece of your identity remains in the system forever. If users could truly delete that data, the premise of one ID per human would collapse, Tools for Humanity’s chief privacy officer Damien Kieran tells me when I call seeking an explanation. People could delete and sign up for new World IDs after being suspended from a platform. Or claim their Worldcoin tokens, sell them, delete their data, and cash in again. This argument fell flat with European Union regulators in Germany, who recently declared that the Orb posed “fundamental data protection issues” and ordered the company to allow European users to fully delete even their anonymized data. (Tools for Humanity has appealed; the regulator is now reassessing the decision.) “Just like any other technology service, users cannot delete data that is not personal data,” Kieran said in a statement. “If a person could delete anonymized data that can’t be linked to them by World or any third party, it would allow bad actors to circumvent the security and safety that World ID is working to bring to every human.”On a balmy afternoon this spring, I climb a flight of stairs up to a room above a restaurant in an outer suburb of Seoul. Five elderly South Koreans tap on their phones as they wait to be “verified” by the two Orbs in the center of the room. “We don’t really know how to distinguish between AI and humans anymore,” an attendant in a company t-shirt explains in Korean, gesturing toward the spheres. “We need a way to verify that we’re human and not AI. So how do we do that? Well, humans have irises, but AI doesn’t.”The attendant ushers an elderly woman over to an Orb. It bleeps. “Open your eyes,” a disembodied voice says in English. The woman stares into the camera. Seconds later, she checks her phone and sees that a packet of Worldcoin worth 75,000 Korean won (about $54) has landed in her digital wallet. Congratulations, the app tells her. You are now a verified human.A visitor views the Orbs in Seoul on April 14, 2025. Taemin Ha for TIMETools for Humanity aims to “verify” 1 million Koreans over the next year. Taemin Ha for TIMEA couple dozen Orbs have been available in South Korea since 2023, verifying roughly 55,000 people. Now Tools for Humanity is redoubling its efforts there. At an event in a traditional wooden hanok house in central Seoul, an executive announces that 250 Orbs will soon be dispersed around the country—with the aim of verifying 1 million Koreans in the next 12 months. South Korea has high levels of smartphone usage, crypto and AI adoption, and Internet access, while average wages are modest enough for the free Worldcoin on offer to still be an enticing draw—all of which makes it fertile testing ground for the company’s ambitious global expansion. Yet things seem off to a slow start. In a retail space I visited in central Seoul, Tools for Humanity had constructed a wooden structure with eight Orbs facing each other. Locals and tourists wander past looking bemused; few volunteer themselves up. Most who do tell me they are crypto enthusiasts who came intentionally, driven more by the spirit of early adoption than the free coins. The next day, I visit a coffee shop in central Seoul where a chrome Orb sits unassumingly in one corner. Wu Ruijun, a 20-year-old student from China, strikes up a conversation with the barista, who doubles as the Orb’s operator. Wu was invited here by a friend who said both could claim free cryptocurrency if he signed up. The barista speeds him through the process. Wu accepts the privacy disclosure without reading it, and widens his eyes for the Orb. Soon he’s verified. “I wasn’t told anything about the privacy policy,” he says on his way out. “I just came for the money.”As Altman’s car winds through San Francisco, I ask about the vision he laid out in 2019: that AI would make it harder for us to trust each other online. To my surprise, he rejects the framing. “I’m much more [about] like: what is the good we can create, rather than the bad we can stop?” he says. “It’s not like, ‘Oh, we’ve got to avoid the bot overrun’ or whatever. It’s just that we can do a lot of special things for humans.” It’s an answer that may reflect how his role has changed over the years. Altman is now the chief public cheerleader of a $300 billion company that’s touting the transformative utility of AI agents. The rise of agents, he and others say, will be a boon for our quality of life—like having an assistant on hand who can answer your most pressing questions, carry out mundane tasks, and help you develop new skills. It’s an optimistic vision that may well pan out. But it doesn’t quite fit with the prophecies of AI-enabled infopocalypse that Tools for Humanity was founded upon.Altman waves away a question about the influence he and other investors stand to gain if their vision is realized. Most holders, he assumes, will have already started selling their tokens—too early, he adds. “What I think would be bad is if an early crew had a lot of control over the protocol,” he says, “and that’s where I think the commitment to decentralization is so cool.” Altman is referring to the World Protocol, the underlying technology upon which the Orb, Worldcoin, and World ID all rely. Tools for Humanity is developing it, but has committed to giving control to its users over time—a process they say will prevent power from being concentrated in the hands of a few executives or investors. Tools for Humanity would remain a for-profit company, and could levy fees on platforms that use World ID, but other companies would be able to compete for customers by building alternative apps—or even alternative Orbs. The plan draws on ideas that animated the crypto ecosystem in the late 2010s and early 2020s, when evangelists for emerging blockchain technologies argued that the centralization of power—especially in large so-called “Web 2.0” tech companies—was responsible for many of the problems plaguing the modern Internet. Just as decentralized cryptocurrencies could reform a financial system controlled by economic elites, so too would it be possible to create decentralized organizations, run by their members instead of CEOs. How such a system might work in practice remains unclear. “Building a community-based governance system,” Tools for Humanity says in a 2023 white paper, “represents perhaps the most formidable challenge of the entire project.”Altman has a pattern of making idealistic promises that shift over time. He founded OpenAI as a nonprofit in 2015, with a mission to develop AGI safely and for the benefit of all humanity. To raise money, OpenAI restructured itself as a for-profit company in 2019, but with overall control still in the hands of its nonprofit board. Last year, Altman proposed yet another restructure—one which would dilute the board’s control and allow more profits to flow to shareholders. Why, I ask, should the public trust Tools for Humanity’s commitment to freely surrender influence and power? “I think you will just see the continued decentralization via the protocol,” he says. “The value here is going to live in the network, and the network will be owned and governed by a lot of people.” Altman talks less about universal basic income these days. He recently mused about an alternative, which he called “universal basic compute.” Instead of AI companies redistributing their profits, he seemed to suggest, they could instead give everyone in the world fair access to super-powerful AI. Blania tells me he recently “made the decision to stop talking” about UBI at Tools for Humanity. “UBI is one potential answer,” he says. “Just giving [people] access to the latest [AI] models and having them learn faster and better is another.” Says Altman: “I still don’t know what the right answer is. I believe we should do a better job of distribution of resources than we currently do.” When I probe the question of why people should trust him, Altman gets irritated. “I understand that you hate AI, and that’s fine,” he says. “If you want to frame it as the downside of AI is that there’s going to be a proliferation of very convincing AI systems that are pretending to be human, and we need ways to know what is really human-authorized versus not, then yeah, I think you can call that a downside of AI. It’s not how I would naturally frame it.” The phrase human-authorized hints at a tension between World ID and OpenAI’s plans for AI agents. An Internet where a World ID is required to access most services might impede the usefulness of the agents that OpenAI and others are developing. So Tools for Humanity is building a system that would allow users to delegate their World ID to an agent, allowing the bot to take actions online on their behalf, according to Tiago Sada, the company’s chief product officer. “We’ve built everything in a way that can be very easily delegatable to an agent,” Sada says. It’s a measure that would allow humans to be held accountable for the actions of their AIs. But it suggests that Tools for Humanity’s mission may be shifting beyond simply proving humanity, and toward becoming the infrastructure that enables AI agents to proliferate with human authorization. World ID doesn’t tell you whether a piece of content is AI-generated or human-generated; all it tells you is whether the account that posted it is a human or a bot. Even in a world where everybody had a World ID, our online spaces might still be filled with AI-generated text, images, and videos.As I say goodbye to Altman, I’m left feeling conflicted about his project. If the Internet is going to be transformed by AI agents, then some kind of proof-of-humanity system will almost certainly be necessary. Yet if the Orb becomes a piece of Internet infrastructure, it could give Altman—a beneficiary of the proliferation of AI content—significant influence over a leading defense mechanism against it. People might have no choice but to participate in the network in order to access social media or online services.I thought of an encounter I witnessed in Seoul. In the room above the restaurant, Cho Jeong-yeon, 75, watched her friend get verified by an Orb. Cho had been invited to do the same, but demurred. The reward wasn’t enough for her to surrender a part of her identity. “Your iris is uniquely yours, and we don’t really know how it might be used,” she says. “Seeing the machine made me think: are we becoming machines instead of humans now? Everything is changing, and we don’t know how it’ll all turn out.”—With reporting by Stephen Kim/Seoul. This story was supported by Tarbell Grants.Correction, May 30The original version of this story misstated the market capitalization of Worldcoin if all coins were in circulation. It is $12 billion, not $1.2 billion.

June 3, 20258 min readWhite House Budget Plan Would Devastate U.S. Space ScienceScientists are rallying to reverse ruinous proposed cuts to both NASA and the National Science FoundationBy Nadia Drake edited by Lee BillingsFog shrouds the iconic Vehicle Assembly Building at NASA’s Kennedy Space Center in Florida in this photograph from February 25, 2025. Gregg Newton/AFP via GettyLate last week the Trump Administration released its detailed budget request for fiscal year 2026 —a request that, if enacted, would be the equivalent of carpet-bombing the national scientific enterprise.“This is a profound, generational threat to scientific leadership in the United States,” says Casey Dreier, chief of space policy at the Planetary Society, a science advocacy group. “If implemented, it would fundamentally undermine and potentially devastate the most unique capabilities that the U.S. has built up over a half-century.”The Trump administration’s proposal, which still needs to be approved by Congress, is sure to ignite fierce resistance from scientists and senators alike. Among other agencies, the budget deals staggering blows to NASA and the National Science Foundation (NSF), which together fund the majority of U.S. research in astronomy, astrophysics, planetary science, heliophysics and Earth science —all space-related sciences that have typically mustered hearty bipartisan support.On supporting science journalismIf you're enjoying this article, consider supporting our award-winning journalism by subscribing. By purchasing a subscription you are helping to ensure the future of impactful stories about the discoveries and ideas shaping our world today.The NSF supports ground-based astronomy, including such facilities as the Nobel Prize–winning gravitational-wave detectors of the Laser Interferometer Gravitational-Wave Observatory (LIGO), globe-spanning arrays of radio telescopes, and cutting-edge observatories that stretch from Hawaii to the South Pole. The agency faces a lethal 57 percent reduction to its $9-billion budget, with deep cuts to every program except those in President Trump’s priority areas, which include artificial intelligence and quantum information science. NASA, which funds space-based observatories, faces a 25 percent reduction, dropping the agency’s $24.9-billion budget to $18.8 billion. The proposal beefs up efforts to send humans to the moon and to Mars, but the agency’s Science Mission Directorate —home to Mars rovers, the Voyager interstellar probes, the James Webb Space Telescope (JWST), the Hubble Space Telescope, and much more —is looking at a nearly 50 percent reduction, with dozens of missions canceled, turned off or operating on a starvation diet.“It’s an end-game scenario for science at NASA,” says Joel Parriott, director of external affairs and public policy at the American Astronomical Society. “It’s not just the facilities. You’re punching a generation-size hole, maybe a multigenerational hole, in the scientific and technical workforce. You don’t just Cryovac these people and pull them out when the money comes back. People are going to move on.”Adding to the chaos, on Saturday President Trump announced that billionaire entrepreneur and private astronaut Jared Isaacman was no longer his pick for NASA administrator—just days before the Senate was set to confirm Isaacman’s nomination. Initial reports—which have now been disputed—explained the president’s decision as stemming from his discovery that Isaacman recently donated money to Democratic candidates. Regardless of the true reason, the decision leaves both NASA and the NSF, whose director abruptly resigned in April, with respective placeholder “acting” leaders at the top. That leadership vacuum significantly weakens the agencies’ ability to fight the proposed budget cuts and advocate for themselves. “What’s more inefficient than a rudderless agency without an empowered leadership?” Dreier asks.Actions versus WordsDuring his second administration, President Trump has repeatedly celebrated U.S. leadership in space. When he nominated Isaacman last December, Trump noted “NASA’s mission of discovery and inspiration” and looked to a future of “groundbreaking achievements in space science, technology and exploration.” More recently, while celebrating Hubble’s 35th anniversary in April, Trump called the telescope “a symbol of America’s unmatched exploratory might” and declared that NASA would “continue to lead the way in fueling the pursuit of space discovery and exploration.” The administration’s budgetary actions speak louder than Trump’s words, however. Instead of ushering in a new golden age of space exploration—or even setting up the U.S. to stay atop the podium—the president’s budget “narrows down what the cosmos is to moon and Mars and pretty much nothing else,” Dreier says. “And the cosmos is a lot bigger, and there’s a lot more to learn out there.”Dreier notes that when corrected for inflation, the overall NASA budget would be the lowest it’s been since 1961. But in April of that year, the Soviet Union launched the first human into orbit, igniting a space race that swelled NASA’s budget and led to the Apollo program putting American astronauts on the moon. Today China’s rapidprogress and enormous ambitions in space would make the moment ripe for a 21st-century version of this competition, with the U.S. generously funding its own efforts to maintain pole position. Instead the White House’s budget would do the exact opposite.“The seesaw is sort of unbalanced,” says Tony Beasley, director of the NSF-funded National Radio Astronomy Observatory (NRAO). “On the one side, we’re saying, ‘Well, China’s kicking our ass, and we need to do something about that.’ But then we’re not going to give any money to anything that might actually do that.”How NASA will achieve a crewed return to the moon and send astronauts to Mars—goals that the agency now considers part of “winning the second space race”—while also maintaining its leadership in science is unclear.“This is Russ Vought’s budget,” Dreier says, referring to the director of the White House’s Office of Management and Budget (OMB), an unelected bureaucrat who has been notorious for his efforts to reshape the U.S. government by weaponizing federal funding. “This isn’t even Trump’s budget. Trump’s budget would be good for space. This one undermines the president’s own claims and ambitions when it comes to space.”“Low Expectations” at the High FrontierRumors began swirling about the demise of NASA science in April, when a leaked OMB document described some of the proposed cuts and cancellations. Those included both the beleaguered, bloated Mars Sample Return (MSR) program and the on-time, on-budget Nancy Grace Roman Space Telescope, the next astrophysics flagship mission.The top-line numbers in the more fleshed-out proposal are consistent with that document, and MSR would still be canceled. But Roman would be granted a stay of execution: rather than being zeroed out, it would be put on life support.“It’s a reprieve from outright termination, but it’s still a cut for functionally no reason,” Dreier says. “In some ways, [the budget] is slightly better than I was expecting. But I had very low expectations.”In the proposal, many of the deepest cuts would be made to NASA science, which would sink from $7.3 billion to $3.9 billion. Earth science missions focused on carbon monitoring and climate change, as well as programs aimed at education and workforce diversity, would be effectively erased by the cuts. But a slew of high-profile planetary science projects would suffer, too, with cancellations proposed for two future Venus missions, the Juno mission that is currently surveilling Jupiter, the New Horizons mission that flew by Pluto and two Mars orbiters. (The Dragonfly mission to Saturn’s moon Titan would survive, as would the flagship Europa Clipper spacecraft, which launched last October.) NASA’s international partnerships in planetary science fare poorly, too, as the budget rescinds the agency’s involvement with multiple European-led projects, including a Venus mission and Mars rover.The proposal is even worse for NASA astrophysics—the study of our cosmic home—which “really takes it to the chin,” Dreier says, with a roughly $1-billion drop to just $523 million. In the president’s proposal, only three big astrophysics missions would survive: the soon-to-launch Roman and the already-operational Hubble and JWST. The rest of NASA’s active astrophysics missions, which include the Chandra X-ray Observatory, the Fermi Gamma-Ray Space Telescope and the Transiting Exoplanet Survey Satellite (TESS), would be severely pared back or zeroed out. Additionally, the budget would nix NASA’s contributions to large European missions, such as a future space-based gravitational-wave observatory.“This is the most powerful fleet of missions in the history of the study of astrophysics from space,” says John O’Meara, chief scientist at the W. M. Keck Observatory in Hawaii and co-chair of a recent senior review panel that evaluated NASA’s astrophysics missions. The report found that each reviewed mission “continues to be capable of producing important, impactful science.” This fleet, O’Meara adds, is more than the sum of its parts, with much of its power emerging from synergies among multiple telescopes that study the cosmos in many different types, or wavelengths, of light.By hollowing out NASA’s science to ruthlessly focus on crewed missions, the White House budget might be charitably viewed as seeking to rekindle a heroic age of spaceflight—with China’s burgeoning space program as the new archrival. But even for these supposedly high-priority initiatives, the proposed funding levels appear too anemic and meager to give the U.S. any competitive edge. For example, the budget directs about $1 billion to new technology investments to support crewed Mars missions while conservative estimates have projected that such voyages would cost hundreds of billions of dollars more.“It cedes U.S. leadership in space science at a time when other nations, particularly China, are increasing their ambitions,” Dreier says. “It completely flies in the face of the president’s own stated goals for American leadership in space.”Undermining the FoundationThe NSF’s situation, which one senior space scientist predicted would be “diabolical” when the NASA numbers leaked back in April, is also unsurprisingly dire. Unlike NASA, which is focused on space science and exploration, the NSF’s programs span the sweep of scientific disciplines, meaning that even small, isolated cuts—let alone the enormous ones that the budget has proposed—can have shockingly large effects on certain research domains.“Across the different parts of the NSF, the programs that are upvoted are the president’s strategic initiatives, but then everything else gets hit,” Beasley says.Several large-scale NSF-funded projects would escape more or less intact. Among these are the panoramic Vera C. Rubin Observatory, scheduled to unveil its first science images later this month, and the Atacama Large Millimeter/submillimeter Array (ALMA) radio telescope. The budget also moves the Giant Magellan Telescope, which would boast starlight-gathering mirrors totaling more than 25 meters across, into a final design phase. All three of those facilities take advantage of Chile’s pristine dark skies. Other large NSF-funded projects that would survive include the proposed Next Generation Very Large Array of radio telescopes in New Mexico and several facilities at the South Pole, such as the IceCube Neutrino Observatory.If this budget is enacted, however, NSF officials anticipate only funding a measly 7 percent of research proposals overall rather than 25 percent; the number of graduate research fellowships awarded would be cleaved in half, and postdoctoral fellowships in the physical sciences would drop to zero. NRAO’s Green Bank Observatory — home to the largest steerable single-dish radio telescope on the planet — would likely shut down. So would other, smaller observatories in Arizona and Chile. The Thirty Meter Telescope, a humongous, perennially embattled project with no clear site selection, would be canceled. And the budget proposes closing one of the two gravitational-wave detectors used by the LIGO collaboration—whose observations of colliding black holes earned the 2017 Nobel Prize in Physics—even though both detectors need to be online for LIGO’s experiment to work. Even factoring in other operational detectors, such as Virgo in Europe and the Kamioka Gravitational Wave Detector (KAGRA) in Japan, shutting down half of LIGO would leave a gaping blind spot in humanity’s gravitational-wave view of the heavens.“The consequences of this budget are that key scientific priorities, on the ground and in space, will take at least a decade longer—or not be realized at all,” O’Meara says. “The universe is telling its story at all wavelengths. It doesn’t care what you build, but if you want to hear that story, you must build many things.”Dreier, Parriott and others are anticipating fierce battles on Capitol Hill. And already both Democratic and Republican legislators have issued statement signaling that they won’t support the budget request as is. “This sick joke of a budget is a nonstarter,” said Representative Zoe Lofgren of California, ranking member of the House Committee on Science, Space, and Technology, in a recent statement. And in an earlier statement, Senator Susan Collins of Maine, chair of the powerful Senate Committee on Appropriations, cautioned that “the President’s Budget Request is simply one step in the annual budget process.”The Trump administration has “thrown a huge punch here, and there will be a certain back-reaction, and we’ll end up in the middle somewhere,” Beasley says. “The mistake you can make right now is to assume that this represents finalized decisions and the future—because it doesn’t.”

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.

U.S. Immigration and Customs Enforcement (ICE) gained indirect access to a vast network of AI-powered license plate reader cameras operated by Flock Safety, according to documents reviewed by 404 Media. ICE has no direct agreement with Flock, but has accessed the system through search requests routed via local and state law enforcement. The data, obtained from Danville, Illinois, through a public records request, revealed more than 4,000 lookups between June 2024 and May 2025 that listed reasons such as “immigration,” “ICE+ERO” or “ICE WARRANT.” These lookups were conducted by agencies across dozens of states, including police departments in Texas, Florida, Missouri and Arizona. In many cases, local officers acted on informal requests from federal agents. What is Flock Safety and how does the system work? Flock Safety operates over 40,000 automatic license plate reader (ALPR) cameras in more than 5,000 U.S. communities. The cameras continuously record vehicle data, including license plates, color, make and sometimes unique features such as bumper stickers or missing hubcaps. Officers using the system can track a vehicle’s movements over time, often without needing a warrant. According to the company’s documentation, agencies using the ‘National Lookup’ tool can query camera data from jurisdictions nationwide. The company claims that local users control the data and decide who can access it, although critics argue that the audit logs suggest limited oversight. Are police violating state laws or company policy? Illinois law prohibits law enforcement from using ALPR data for immigration enforcement, and Flock’s own policies forbid it. However, the audit data show that ICE and its Enforcement and Removal Operations division were able to utilize the system through state and local police indirectly. Danville officials denied that their officers conducted immigration lookups. However, 404 Media confirmed details of searches with several agencies that cited informal federal requests. Some departments said the data was used in broader criminal probes. Others acknowledged task force officers may have entered immigration-related terms in error. Civil liberties advocates warn that the practice raises significant privacy concerns and calls for public debate over the limits of law enforcement surveillance.

With both the PlayStation 5 and PlayStation 5 Pro, the visual experience on Sony’s console is incredible, especially when paired with the right TV for gaming. Playing games at 4K resolution and 60fps on that new PS5 Pro is fantastic, but to really get in the game, you need the audio experience to match. You’ll do justice in a home theater setup with the proper 7.1 speakers or a great soundbar, but you probably don’t want to be rattling your walls at all times. That doesn’t mean you have to sacrifice sound quality – one of the most important PS5 accessories is a good gaming headset, and there are plenty out there.Pulse Elite is one of the best picks for PS5 since it’s a Sony first-party product that features some nice platform integration. But if you’re willing to spend more for pure audio quality, the Audeze Maxwell is an easy choice. And if you want to ditch having something clamping over your head, the SteelSeries Arctis GameBuds elevate earbuds to the headset levels of performance. TL;DR - These Are the Best PS5 HeadsetsOur Top PickSteelSeries Arctis Nova ProSee it at AmazonBest First-PartyPlayStation Pulse EliteSee it at AmazonBest 3D AudioPlayStation Pulse 3DBest High-EndAudeze MaxwellSee it at AmazonBest BudgetTurtle Beach Stealth 500See it at AmazonBest Open-BackTurtle Beach Atlas AirSee it at AmazonBest WiredHyperX Cloud IIISee it at AmazonBest Noise-cancelingAlienware Pro HeadsetSee it at AmazonBest EarbudsSteelSeries Arctis GameBudsSee it at AmazonIt's worth noting that from now until June 11 is Sony's PS5 Days of Play sale, which features several deals on hardware and games. This includes accessories like headsets and controllers; unfortunately, it does not include the Pulse Elite or Pulse 3D headsets. However, you can get deep discounts on the Pulse Explore gaming earbuds, the Sony InZone H9 headset, and the InZone noise-cancelling earbuds, all of which we have reviewed and gave high marks.When it comes to our picks, you may notice some crossover in our best overall gaming headsets roundup since many of them have PS5-specific models that take advantage of the console’s specific features. There are also a few first-party options that make the most of the PS5 with features like Tempest 3D spatial audio and further customization that’s native to the platform. Regardless of what you choose to pick up, you’ll end up with something great, which I can attest to since I have first-hand experience with every product I recommend. Everything from sound quality and comfort to ease-of-use and feature set are all factors in deciding which headsets get my stamp of approval. Below, you can read my detailed explanations behind each pick to help you decide which one is right for you. As new headsets come out and I test more of them, I’ll update this list to make sure you’re looking at the top picks. If you're looking for discounts on the best PS5 accessories, check out our picks for the best PS5 deals.This guide contains contributions by Danielle Abraham.1. SteelSeries Arctis Nova ProBest Overall PS5 HeadsetOur Top PickSteelSeries Arctis Nova ProMultiple connectivity options, a hot-swappable battery, excellent sound, and hybrid active noise canceling make this a hard-to-top headset.See it at AmazonProduct SpecificationsConnectivity2.4 GHz wireless, Bluetooth, wiredDrivers40mm NeodymiumBattery life18-22 hours (per battery)Weight338gPROSFully featured with ANC, base station, etcSwappable battery system is innovativeFantastic sound qualityCONSANC could be betterIt seems like everywhere you look for headset recommendations, you’ll come across someone singing the praises of the SteelSeries Arctis Nova Pro – us included. It’s the current top pick in our overall best gaming headset roundup and it’s also tremendous when using it on the PS5. You still get all the great features with some new technology including active noise cancellation and improved audio all around. Using a hybrid noise-canceling system with four mics, you can drown out harsh noises from outside your room to the ambient hum of loud fans. But it's the full compatiblity with the PS5’s Tempest 3D audio that give it the edge, which is one of console-specific perks you should expect from a top-end headset such as this one.Most importantly, the Nova Pro offers some fantastic sound quality out of the box with bold and balanced audio for those PlayStation-exclusive single-player cinematic experiences. Its positional audio is great as well, so it's easier to hear enemy footsteps around the corner or gauge the distance of action happening in a competitive shooter like Call of Duty Warzone or Apex Legends.The Arctis Nova Pro represents the biggest design shift since the start of the Arctis lineup. Its telescoping arms on its adjustable headband better accommodate larger head sizes and proper fitment. The earcups are also slimmer and sleeker, giving off less of a gaming headset vibe and more of a look akin to wireless headphones without sacrificing the comfort SteelSeries headsets are known for. And one of our favorite features remains intact with a few upgrades: the hot-swappable rechargeable battery system. This means that when the battery runs low during a gaming session, you can quickly change it out without having to plug in, giving you wireless freedom indefinitely.The Arctis Nova Pro is one of the best headsets you can buy right now, regardless of platform but especially for PS5. It’s well-rounded with uniquely robust features, great sound quality for gaming, and comfort to keep you going. Take our word for it – in our Arctis Nova Pro headset review, it earned a rare 10 for all the aforementioned reasons and more.2. PlayStation Pulse EliteBest First-Party PS5 HeadsetBest First-PartyPlayStation Pulse EliteGreat sound, a unique look, and multipoint connectivity all come with this headset made with the PS5 in mind.See it at AmazonProduct SpecificationsConnectivityWired, Bluetooth, PlayStation LinkDriversPlanar magneticMax battery life30 hours Weight347gPROSClear, detailed audioWireless multipointCONSUnique design won’t appeal to allThe PlayStation Pulse Elite wireless headset turned out to be an absolute beast when we reviewed it, which didn’t come as much of a surprise considering its more affordable counterpart, the Pulse 3D, was already a fantastic headset. It has some versatility with Bluetooth connectivity, but when connected to the PS5 with the USB dongle, you can access EQ settings and 3D audio natively. Additionally, you’re able to get audio feeds from both the PS5 and a Bluetooth device simultaneously. With a sleek unibody design, its on-device controls are easy to use since it’s easy to distinguish each button.But at the end of the day, it’s all about audio quality, and the Pulse Elite delivers on that front. The planar magnetic audio drivers help minimize distortion and provide tremendous sound quality that’ll get the most out of your games. There’s strong bass that doesn’t overpower other frequencies, and playing games at loud volumes doesn’t sound harsh when it comes to the mids and highs. Especially when you use the right EQ settings, the Pulse Elite sounds tuned just right for each game. Sony's own Tempest 3D audio is the cherry on top, and a single-player game that takes advantage of this feature gives the experience of an immersive soundstage few headsets can pull off right.For $150, you’re getting a lot for your money. It’s priced well below other high-end headsets, yet performs on par with many of them. It’s also packed with several extra features that make the most of the PS5 as a platform. For all that and more, the Pulse Elite is one of the best PS5 headsets you can get today.3. PlayStation Pulse 3DBest PS5 Headset for 3D AudioBest 3D AudioPlayStation Pulse 3DDesigned for the PS5 but compatible with many other devices, this affordable headset offers Tempest 3D positional audio for detailed, immersive sound.Product SpecificationsConnectivityUSB dongle, 3.5mm jackDrivers40mm NeodymiumMax battery life12 hoursWeight292gPROSTailored to the PS5Affordable for official Sony gearBase level sound quality is greatCONSMediocre battery lifeThe official PlayStation headset that launched alongside the PS5, the Sony Pulse 3D was specifically designed to show off the console’s next-gen audio capabilities. Even several years removed from its release, it still does that very well, particularly when it comes to the PS5’s Tempest 3D AudioTech, the virtual surround sound system designed to enhance positional audio feedback – think enemy fire coming from a certain height and direction, or an NPC talking to you from behind.Even without that 3D audio, our review of the Sony Pulse 3D revealed it to performing headset with a wide soundstage alongside solid overall sound quality. The rounded, well-padded leatherette ear cups are wider than they look, although they can get a tad warm after continuous use. It’s lightweight, too, and the slick white-black color scheme perfectly fits the PS5 hardware. However, I do find the headset to clamp a bit tighter than most, so that's one thing to take note of.A pair of noise-canceling microphones are built into the headset’s ear cups. They work fine and audio comes through loud and clear, though they struggle to completely isolate and eliminate background noise. For the most part, that won’t be a problem. Also, remember to charge this headset at the end of the day or have a very long USB-C cable to plug it in mid-session since it's battery life is on the shorter end.The Pulse 3D headset is an incredible value at $100, giving you a great option for PS5 audio with all the Sony-specific bells and whistles you'd want if you're not willing to shell out the extra money for the Pulse Elite.4. Audeze MaxwellBest High-End PS5 HeadsetAudeze MaxwellThe Audeze Maxwell is a high-end wireless gaming headset from one of the best headphone manufacturers on the planet.See it at AmazonProduct SpecificationsConnectivityUSB-A / USB-C, Bluetooth 5.3, 3.5mm wiredDrivers90mm planar magneticMax battery life80+ hoursWeight490gPROSTop-notch audio experienceSleek, low-key designCONSLeans on the heavier sideAlthough our overall top pick is the SteelSeries Arctis Nova Pro with the Pulse Elite not too far behind, I still find the Audeze Maxwell worth its price tag and a surefire recommendation for those who want the absolute best audio quality. It sports a sleek, non-descript design akin to many audiophile-style pairs of headphones and performs just like one as well. Sometimes I need to break away from the misconception that wired is always better for sound quality, especially when the Audeze Maxwell proved me wrong.Its 90mm planar magnetic drivers jump out from the spec sheet – and while bigger drivers doesn’t always mean better, this is one case in which the audio experience matches the boastful driver size. Overall clarity, balance across frequencies, and a rich natural audio profile make this high-end headset stand out from the rest of the pack. While the aforementioned headsets on this list are fantastic in their own right, especially for their robust features, it’s hard to compete with the Audeze Maxwell purely in the audio department.That said, while the Maxwell is comfortable, it does land on the heavier side of gaming headsets. It’s built like a tank, but if you’re okay with that, then it’s more of a non-issue. When you get a great mix of sound quality, battery life, and features such as a mic with pinpoint noise isolation, it’s easy to justify its high price. I praised it for all that and more in my Audeze Maxwell review where it earned a 9 on our scoring scale.5. Turtle Beach Stealth 500Best Budget PS5 HeadsetTurtle Beach Stealth 500The Turtle Beach Stealth 500 is a wireless gaming headset for under $100, and you can't beat that value.See it at AmazonProduct SpecificationsConnectivity2.4GHz, Bluetooth 5.2Drivers40mm driversBattery life40 hoursWeight235gPROSDurable and flexible buildGreat sound quality for its priceCONSBulky design with messy button layoutYears of solid headsets proves that Turtle Beach knows what it's doing, and its high-end offerings have been competitive options for a while now. But as I go down the pricing hierarchy, there are still impressive headsets like the Stealth 500 that punches above its weight. Although it’s quite bulky in its physical build, I find the Stealth 500 to be smartly designed with a super flexible headband that's durable and lightweight, which also translates to solid comfort that’s easy on the ears.What's most important is sound quality, and what you get from the Stealth 500 is nothing to scoff at. While it may struggle in higher frequencies, which tend to sound a bit crunchy at louder volumes, its strong bass and clear mids make games sound full without coming across as artificial. With the Swarm II software’s Signature Sound profile, you’ll be set without having to fiddle with too many settings. Its positional audio was great as well, which I sussed out while playing ranked matches of Counter-Strike 2, so you don’t really need to shell out the big bucks to get that kind of advantage in competitive games on PS5.Even at this price point, you get Bluetooth capabilities and can swap between devices with the press of a button. While the mic isn’t anything to boast about, it’s serviceable and can be customized in the software as well. It’s no surprise that there are compromises that need to be made in budget-level headsets, but it gets the essentials right, which earned it an 8 in my Stealth 500 review.6. HyperX Cloud IIIBest Wired PS5 HeadsetBest WiredHyperX Cloud IIIWith great comfort, sound quality, microphone clarity, and durability, the Cloud III is one of HyperX's best headsets.See it at AmazonProduct SpecificationsConnectivityWired (3.5mm), USB-A / USB-CDrivers53mm Angles DriversBattery lifeN/AWeight318gPROSExtremely durable and flexibleDense earpads for premium-grade comfortGreat sound and mic quality, especially in its price rangeCONSMay clamp a little too tightNo matter which version of the HyperX Cloud headset you go with, you get a quality product. If you’re running on a budget and want to get the most bang for your buck, I always recommend the wired HyperX Cloud III, which can often be found below its $100 base price. It punches above its weight with impressive sound and mic quality and great comfort. Plus, it’s built like a brick house so it’s not going to fall apart through years of use.Out of the box, the Cloud III impressed me with its build and durability – its aluminum frame can be flexed and contorted in any which direction without ever feeling like it’s going to break. Stretching the headset out to fit on your head is super easy and you can toss them on your desk without worrying about damaging them. It's built for comfort as well with dense foam earpads wrapped in a leatherette (just be aware it tends to get a bit sweaty), although its clamp force may be a bit much for some.At the end of the day, it’s all about sound quality and the Cloud III handles various frequencies wonderfully. In my Cloud III headset review, I felt comfortable tracking enemy footsteps while playing a ton of Valorant and enjoyed the balanced audio in Final Fantasy XIV, which this more budget-friendly headset handled gracefully. Assuming you’re on a budget, you probably don’t want to spend extra on a decent microphone – luckily, the mic clarity on the Cloud III was equally as impressive. While there is a wireless version of the Cloud III available, the wired model presents some of the best value and performance. Something like the Beyerdynamic MMX 300 Pro is a current analog favorite, but since you're plugging into the DualSense when you're using a wired headset on PS5, it somewhat limits what you can get out of said headset. Thus, the Cloud III strikes the better value proposition.7. Alienware Pro HeadsetBest Noise-Canceling PS5 HeadsetBest Noise-cancelingAlienware Pro HeadsetDefying its own brand tradition, Alienware went with a super-sleek design for the Pro headset and brings great sound quality as well as great ANC and comfort.See it at AmazonProduct SpecificationsConnectivityBluetooth, USB-C dongle, USB wiredDrivers50mm Graphene-CoatedMax battery life70 hours (35 hours with ANC)Weight315gPROSStrong bass responseSleek, non-descript designANC and mic ANC both work excellentlyCONSSoftware support isn't greatOver the years, Alienware's forte has been custom built PCs and has explored gaming peripherals since. It rethought its design philosophy and came out with the Pro headset earlier this year with great success, as I detail in my Alienware Pro headset review. I love its slim and sleek design (somewhat matching the design philosophy of Sony's PS5 products), which also makes it easily double-up as a casual everyday pair of headphones, and that really makes its active noise-canceling features sing.As a gaming headset, it brings booming bass to support all the other frequencies so PS5 games are going to have a powerful low-end to give a proper cinematic experience, but it's also tuned to be fit for competitive games as well. When it comes to comfort, its memory foam earbuds get the job done even though they don't look impressive at first glance. The flexible headband lets the Alienware Pro headset clamp easily on my head to help it stay comfortable for several hours of play.If you're looking for good ANC above all else, I can easily recommend the Alienware Pro headset since it's very good at drowning out ambient noise and retains solid battery life even though ANC tends to drain battery rapidly. That good ANC extends to the microphone as well, so while the overall microphone quality isn't that impressive, it's fantastic at isolating your voice.8. Turtle Beach Atlas AirBest Open-Back PS5 HeadsetBest Open-BackTurtle Beach Atlas AirThe Turtle Beach Atlas Air is a high-end open-back PC gaming headset that is extremely comfortable, and sounds good to boot.See it at AmazonProduct SpecificationsConnectivityBluetooth, USB dongle, 3.5mm jackDrivers40mmMax battery life50 hoursWeight301gPROSUnique, ultra comfortable lightweight designExcellent audio performanceCONSSome sound leakageIf the name wasn’t a dead giveaway, our hands-on review of the Turtle Beach Atlas Air confirmed it is a well-cushioned, surprisingly lightweight headset you’ll be happy to have on your noggin for hours. The earcups are stuffed with memory foam and are are almost "floating" for multidirectional movement to limit pressure and improve weight distribution. The headband is made of super flexible mesh with an adjustable velcro strap, aiding in the feathery feel. If that’s not enough to convince you this is one of the comfiest headsets out there, the open-back design provides more airflow and breathability, ideal for gaming marathons.Turtle Beach makes it simple to connect the Atlas Air to the PS5, with an option for a wired or wireless link, including a USB dongle for a low latency connection. Buttons on the earcups also make it easy to switch between different connectivity modes. Beyond being great for the PS5, this versatile option is one of the best gaming headsets for PC, as well. Plus, when using it wirelessly, the 50 hours of battery life is a massive boon, so recharging is less of a hassle. Perhaps most important is how the Turtle Beach Atlas Air sounds, and it doesn’t disappoint. The open-back design makes for a more natural sound and better directional audio, though you’ll have to deal with some leakage. The 40mm drivers support 24-bit audio with booming lows and crisp highs that put other gaming headsets to shame. It’s also chock full of features to tweak your sound like Waves 3D Audio, 10-Band EQs, and even "Superhuman Hearing." However, not all these features will be available on the PS5.Rounding out this absolutely stunning gaming headset is a highly capable unidirectional detachable boom mic that’ll keep you coming across clear to teammates. It’s hard not to fall for this light, flexible, great-sounding headset.9. SteelSeries Arctis GameBudsBest PS5 EarbudsBest EarbudsSteelSeries Arctis GameBudsSteelSeries built the Arctis GameBuds for gaming and deliver booming audio with solid battery life low-latency thanks to its 2.4GHz dongle.See it at AmazonProduct SpecificationsConnectivityBluetooth, 2.4GHz USB-C dongleDrivers10mm Neodymium MagneticMax battery life10 hoursWeight5g per earbudPROSImpressive sound qualityBetter battery life than most earbudsControls, software, and ANC add valueCONSA few features are hard to get workingGaming earbuds are a fairly recent trend with the notable peripheral companies like Razer, Asus, and PlayStation making their own that are suited for games. It's tough because of the limited driver size and battery life, earbuds tend to make sacrifices in one way or another. But the SteelSeries Arctis GameBuds are so impressive because of how uncompromising these little rounded buds are.On top of having solid foundations of sound quality, battery life, and long-term comfort, SteelSeries has one of the most robust software suites, which is easily controllable through a mobile app. This takes out the inconvenience of having to flip through PS5 menus to customize the earbuds, while also letting you access its 100+ custom-tuned EQ profiles easily. Although there are a few minor inconveniences with how some of its quality-of-life features work (autoplay when taking it on and off, connecting through Bluetooth reliably), the GameBuds do all the important things extremely well. While you should definitely use these as your primary earbuds to listen to music on your phone, they really shine in games with the kind of bold audio experience you expect from a headset. For all that and more, I gave a 9 to the SteelSeries Arctis GameBuds in my review, and they'll pair nicely with your PS5.At $160, these have cheaper base price than the Razer Hammerheads I previously recommended. While I still think the Hammerheads have a very slight edge in sound quality, it's the battery life, software support, and overall comfort that make the GameBuds the best all around.PS5 Headsets FAQHow do you determine sound quality on a gaming headset?There are ways to extract audio data from a headset to get a look at how they handle various frequencies, like artificial ear and audio analyzing software, but that alone won’t be able to tell you what the actual audio experience is like. Admittedly, it can be quite abstract to have someone describe what games, music, or movies sound like. Paying attention to descriptors like distortion, drowning, cleanliness, or balance when talking about frequencies are common ways to explain the sound quality of a device, and at some point you need to trust the reviewer’s trained ear.There’s also the factor of driver size, the actual hardware that delivers the audio. Generally, bigger drivers means better potential for cleaner and bolder sound, but again, that alone isn’t going to determine whether or not a headset sounds good. Quality can also come down to spatial or positional audio which gives the impression of sound effects having distance and direction – it’s important for competitive settings but can make for audio more suited for cinematic games.As I talk about further down, the PS5 in particular has embraced 3D audio in a way other platforms have not. It may seem like a gimmick at first glance, but when done right, it can give you a genuinely immersive experience – not just for direction and distance, but also verticality in the sound design. This gives headsets like the Pulse Elite and Pulse 3D an advantage when picking out the best PS5 headset since 3D audio definitely affects how good games can sound.What makes gaming headsets different from headphones?Gaming headsets tend to pack additional features that support the actual gaming experience, some of which may be gimmicky, but many that I would call essential. Not everyone wants to have a standalone microphone, for example, but the key feature that separates a headset from headphones is a built-in microphone. While most headset mics are passable in terms of clarity that can suffice for in-game communication, some go the extra mile to provide better clarity or mitigate ambient noise spilling through.Good gaming headsets are generally tuned to pick up on certain sound effects and have a more intimate sound profile since you’re an active participant in the experience rather than a passive observer (especially in competitive games). When it comes to wireless capabilities, most gaming headsets come with 2.4GHz USB dongles for the lowest latency possible – something that wireless headphones rarely include. As you’ll see in the next section, software suites for USB-based headsets (wireless or otherwise) have gotten sophisticated and sometimes offer a level of customization for specific gaming scenarios.Should I go wired or wireless for a gaming headset?Of course, it depends on your needs. On PC, I still gravitate towards wired headsets and headphones since I tend to prefer the sound profiles of a properly-tuned analog audio device (I also tend to forget about charging devices until it’s too late, but that’s a me-problem). However, battery life and latency of modern gaming headsets have come so far that you rarely, if ever, see them being issues on the latest releases. Good software suites and apps can also help you get more out of your headset by letting you customize EQ settings or swap sound profiles for certain games.Wireless headsets are also sometimes capable of multi-device connectivity and simultaneous Bluetooth, which makes them versatile and opens them up to more use-cases (especially swapping to a mobile connection within seconds). Even though they tend to be more expensive, there’s a lot of upside to going with a wireless gaming headset, just be sure you know what you’ll be getting out of it.On PS5, you're better going off with a wireless headset, though. Since 3.5mm analog wired audio devices have to go through the DualSense controller's, there's an upper limit to how good they can sound. Don't get it twisted, though – headsets and headphones can still sound great when fed through the DualSense, but it'll be diminishing returns when using audiophile-type gear. After all, the console experience is best when free of wires.Is 3D audio worth it?Made specifically for the PS5, Tempest 3D AudioTech to simulate 360-degree audio in supported PS5 games. That means you can tell the direction the audio is coming from, be it a helicopter overhead or enemy fire coming from whichever direction, it's an experiential marvel more so than an advantage. It’s similar to Windows Sonic on the Xbox Series X/S, but Sony has embraced it to greater extent and its implementation on the PS5 is a really neat perk. And to boot, plenty of the best PS5 headsets support Sony’s 3D audio, including the SteelSeries Arctis Nova 7P, Sony Pulse 3D, and PlayStation Pulse Elite wireless headset.The Sony Pulse 3D does a good job showing off the PS5’s next-gen 3D audio tech, whereby noises and sounds are emulated to appear in a 360-degree space around your ears, and even expressing a greater level of verticality to positional sound in some instances. It’s straightforward to set up, comfortable, and surprisingly affordable for an official PlayStation headset, and a great choice if you want to see exactly what the PS5’s 3D audio can do.Do you need a Bluetooth adapter for your PS5?If you're hoping to connect wireless headphones and headsets to your PS5, you will need a compatible Bluetooth adapter. The PS5 does not currently support direct pairing with any Bluetooth headphones for audio output. However, when it comes to latency, you're best served using headsets with 2.4GHz dongles, which all our recommended headsets come with.What is PlayStation Link? PlayStation Link is Sony’s latest wireless connectivity standard that provides a lightning-fast connection, lossless audio, and ultra-low latency with easy switching between different devices. The PlayStation Portal is the only gaming device with the technology built-in. So, you’ll need the PS Link USB dongle when using the PS5, PS5 Slim, PS5 Pro, and PC. Still, at the moment, only a couple of Sony’s peripherals have this technology, including the PlayStation Pulse Elite wireless headset in this guide.

White House Chief of Staff Susie Wiles uses a phone as she attends a National Day of Prayer event hosted by President Donald Trump in the Rose Garden at the White House, May 1, 2025 in Washington / Image credits - Andrew Harnik/Getty Images The personal phone of Susie Wiles, the U.S. President Donald Trump’s chief of staff, was allegedly hacked, with the individual responsible obtaining access to a bevy of contacts, including high-profile officials. According to the latest report, a federal probe has been launched, but there is no confirmation on how the phone was compromised in the first place. The contacts present in Susie Wiles’ phone grew suspicious after the impersonator asked to move the conversation to Telegram, risking the leaking of sensitive information Shortly after gaining access to the White House chief of staff’s personal phone, the hackers leveraged AI to impersonate Wiles’ likeness and sent multiple contacts voice and text messages from a different number. It was only after the person or persons on the other end recommended continuing the conversation to a private platform like Telegram that the contacts realized that something was off. FBI Director Kash Patel shared the following statement with CBS News regarding the incident. “The FBI takes all threats against the President, his staff, and our cybersecurity with the utmost seriousness; safeguarding our administration officials’ ability to securely communicate to accomplish the President's mission is a top priority.” As for how Wiles’ phone was compromised, TechCrunch asked White House spokesperson Anna Kelly if a cloud account associated with the chief of staff’s device was compromised, or if her handset was a part of a more sophisticated attack involving government-grade spyware. Unfortunately, the outlet did not receive a meaningful response, suggesting that the investigation is still ongoing. This is the second incident in which Wiles has been targeted by hackers, with the first instance transpiring in 2024, when it was reported that Iranian cyber-espionage experts attempted to obtain access to her personal email account. A separate report claims that these individuals were successful in bypassing the security as they obtained a dossier on Vice President JD Vance, who was Donald Trump’s running mate at the time. Going over a few images, we realized that the U.S. President’s chief of staff is currently in possession of an iPhone, which should cause even more concern because Apple prides itself on its robust security and privacy. News Source: The Wall Street Journal

The new ES90 electric car is the flagship of Volvo's latest digital safety tech.TT News Agency/AFP via Getty Images For decades, the Volvo brand has been synonymous with safety. But keeping passengers secure is no longer just about a strong cabin or cleverly designed crumple zones. Increasingly, safety is about semi-autonomous driving technology that can mitigate collisions or even avoid them entirely. Volvo intends to be ahead of the game in this era too. Its secret weapon? Something called “Gaussian Splatting”. I asked Volvo’s Head of Software Engineering Alwin Bakkenes and subsidiary Zenseact’s VP Product Erik Coelingh exactly what this is and why it’s so important. Volvo: Early Application Of Safety Data “We have a long history of innovations based on data,” says Bakkenes. “The accident research team from the 70s started with measuring tapes. Now in the digital world we’re collecting millions of real-life events. That data has helped us over the years to develop a three-point safety belt and the whiplash protection system. Now, we can see from the data we collect from fleets that a very large portion of serious accidents happen in the dark on country roads where vulnerable road users are involved. That’s why, with the ES90 that we just launched, we are also introducing a function called lighter AES where we have enabled the car to steer away from pedestrians walking on the side of the road or cyclists, which in the dark you can’t see even if you have your high beam on. This technology picks that up earlier than a human driver.” The Volvo EX90 SUV will also benefit from this technology. Volvo Cars uses AI and virtual worlds with the aim to create safer carsVolvo “If you want to lead in collision avoidance and self-driving, you need to have the best possible data from the real world,” adds Bakkenes. “But everyone is looking also at augmenting that with simulated data. The next step is fast automation, so we’re using state-of-the-art end-to-end models to achieve speed in iterations. But sometimes these models hallucinate. To avoid that, we use our 98 years of safety experience and these millions of data points as guardrails to make sure that the car behaves well because we believe that when you start to automate it needs to be trusted. For us every kilometer driven with Pilot Assist or Pilot Assist Plus needs to be safer than when you've driven it yourself. In the world of AI data is king. We use Gaussian Splatting to enhance our data set.” What Is Volvo’s Gaussian Splatting? “Cars are driven all around the world in different weather and traffic conditions by different people,” says Coelingh. “The variation is huge. We collect millions of data points, but it’s still a limited amount compared to reality. Gaussian Splatting is a new technology that some of our PhD students have been developing the last few years into a system where you can take a single data point from the real world where you have all the sensor, camera, radar and LIDAR sequences and then blow it up into thousands or tens of thousands of different scenarios. In that way, you can get a much better representation of the real world because we can test our software against this huge variation. If you do it in software, you can test much faster, so then you can iterate your software much more quickly and improve our product.” “Gaussian Splatting is used in different areas of AI,” continues Coelingh. “It comes from the neural radiance fields (NeRFs).” The original version worked with static images. “The first academic paper was about a drum kit where somebody took still pictures from different angles and then the neural net was trained on those pictures to create a 3D model. It looked perfect from any angle even though there was only a limited set of pictures available. Later that technology was expanded from 3D to 4D space-time, so you could also do it on the video set. We now do this not just with video data, but also with LiDAR and radar data.” A real-world event can be recreated from every angle. “We can start to manipulate other road users in this scenario. We can manipulate real world scenarios and do different simulations around this to make sure that our system is robust to variations.”Gaussian Splatting allows multiple scenario variations to be created from one real event.Volvo Volvo uses this system particularly to explore how small adjustments could prevent accidents. “Most of the work that we do is not about the crash itself,” says Coelingh. “It’s much more about what's happening 4-5 seconds before the crash or potential crash. The data we probe is from crashes, but it's also from events where our systems already did an intervention and in many cases those interventions come in time to prevent an accident and in some cases they come late and we only mitigated it. But all these scenarios are relevant because they happen in the real world, and they are types of edge case. These are rare, but through this technology of Gaussian Splatting, we can go from a few edge cases to suddenly many different edge cases and thereby test our system against those in a way that we previously could not.” Volvo’s Global Safety Focus This is increasingly important for addressing the huge variation in global driving habits and conditions a safety system will be expected to encounter. “Neural Nets are good at learning these types of patterns,” says Coelingh. “Humans can see that because of the behavior of a car the driver is talking into their phone, either slowing down or wiggling in the lane. If you have an end-to-end neural network using representations from camera images, LiDAR and radar, it will anticipate those kinds of things. We are probing data from cars all around the world where Volvo Cars are being driven.” The system acts preemptively, so it can perform a safety maneuver for example when a pedestrian appears suddenly in the path of the vehicle. “You have no time to react,” says Coelingh. Volvo’s safety system will be ready, however. “Even before that, the car already detects free space. It can do an auto steer and it’s a very small correction. It doesn't steer you out of lane. It doesn't jerk you around. It slows down a little bit and it does the correction. It's undramatic, but the impact is massive. Oncoming collisions are incredibly severe. Small adjustments can have big benefits.”Volvo's safety tech can detect pedestrians the human driver may not have seen.Volvo Volvo has developed one software platform to cover both safety and autonomy. “The software stack that we develop is being used in different ways,” says Coelingh. “We want the driver to drive manually undisturbed unless there’s a critical situation. Then we try to assist in the best possible way to avoid collision, either by warning, steering, auto braking or a combination of those. Then we also do cruising or L2 automation.” Volvo demonstrated how it has been using Gaussian Splatting at NVIDIA’s GTC in April. “We went deeply into the safe automation concept,” says Bakkenes. “Neural nets are good at picking up things that you can’t do in a rule-based system. We're developing one stack based on good fleet data which has end-to-end algorithms to achieve massive performance, and it has guard rails to make sure we manage hallucinations. It's not like we have a collision avoidance stack and then we have self-driving stack.” “There was a conscious decision that if we improve performance, then we want the benefits of that to be both for collision avoidance in manual driving and for self-driving,” says Coelingh. “We build everything from the same stack, but the stack itself is scalable. It’s one big neural network that we can train. But then there are parts that we can deploy separately to go from our core premium ADAS system all the way to a system that can do unsupervised automation. Volvo’s purpose is to get to zero collisions, saving lives. We use AI and all our energy to get there.”