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

May 30, 20255 min readWhy This Hurricane Season Has Experts on EdgePredictions for an above-average number of storms, communities that are still recovering and cuts to the National Weather Service have meteorologists and other experts worried about this hurricane seasonBy Andrea Thompson edited by Dean VisserCategory 4 Hurricane Florence as seen from the International Space Station in 2018. ESA/NASA–A. GerstJune 1 marks the official start of the hurricane season in the Atlantic Ocean—and once again, the season looks like it will be busy.Though it is impossible to tell this far in advance exactly when storms will form and where they might hit, the presence of hurricane-friendly environmental conditions this season—along with the federal government cuts and policy chaos—have experts worried about the accuracy of forecasts and the resulting safety of communities. Scientific American asked several forecasters and hurricane researchers what they were most concerned about this year.Warm oceans may mean a busy hurricane seasonOn 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.Seasonal forecasts—including the National Oceanic and Atmospheric Administration’s—put the odds in favor of having more storms than average this season, which will last until November 30. NOAA predicts 13 to 19 named storms, meaning those of tropical storm strength (with winds of 39 to 74 miles per hour) or higher. Of those, six to 10 are expected to become hurricanes (with winds of more than 74 mph). And among those hurricanes, three to five are expected to reach major hurricane status—meaning they will have winds that will fall within Category 3 (those of 111 to 129 mph) or a stronger category on the Saffir-Simpson scale.The expectations of an active season arise from a combination of a favorable atmospheric environment and abundant ocean heat to fuel storms. For one thing, there’s no El Niño in place right now to influence winds in a way that tends to shred storms apart, says Phil Klotzbach, a hurricane researcher at Colorado State University, whose team releases its own seasonal forecast each year.And waters in the Gulf of Mexico are extremely warm right now, providing ample fuel for the convection that drives tropical cyclones. “Over 60 percent of the Gulf is at record or near-record warmth for the time of year, and waters east of Florida and around the Bahamas are as warm as we’ve seen them for the start of any hurricane season in the satellite era,” says Michael Lowry, a hurricane specialist at WPLG Local 10 News in Miami. Warm ocean water in these areas can cause storms to rapidly intensify right before landfall, giving communities less time to prepare for the onslaught. This is a major concern for Jill Trepanier, a hurricane researcher at Louisiana State University. “That is just a devastating situation when it occurs,” she says.It’s a situation that has played out many times in recent years, including with Hurricanes Beryl and Milton last season. “The sticky heat of the Gulf is a worrisome trend that’s undoubtedly fueling the spate of big hurricane hits along the Gulf Coast over the past decade or so,” Lowry says. “This is consistent with recent research that suggests the Gulf has seen a significant increase over the past 42 years in the number of days where it can support high-end hurricanes.”Because of that abundant hurricane fuel, “I would not be surprised if we see early-season activity well ahead of the peak” of activity in September, says Marshall Shepherd, an atmospheric scientist at the University of Georgia.Several experts noted that this year’s conditions have some slight differences from the most recent seasons. For one, “the waters of the deep tropical Atlantic east of the Caribbean—often a bellwether for overall hurricane season activity—are the coolest we’ve seen them to start a hurricane season since 2021,” Lowry says. But, he adds, they are “still plenty warm ... and forecast to remain so, which should favor above-average activity.”Though the overall message is that this will be a busier-than-normal season, it is not predicted to be quite as busy as those of the past few years. Klotzbach is worried that could lead to complacency. “My biggest concern is that, because the seasonal forecasts are a bit less aggressive than last year..., people may tend to let their guard down,” he says.Communities are still recoveringInevitably, each time a new hurricane season begins, some communities are still reeling from storms from the previous year—and often even further back in time. This year “places in Florida, Georgia and the Carolinas are still recovering from Helene, Milton and Debby,” Shepherd says, citing three of the worst storms of the 2024 season.An aerial view of destroyed houses in Port St Lucie, Fla., after a tornado hit the area and caused severe damage as Hurricane Milton swept through on October 11, 2024.Miguel J. Rodriguez Carrillo/AFP via Getty ImagesA National Academies of Sciences, Engineering, and Medicine report released last year warned that the Gulf Coast in particular risked being in “perpetual disaster recovery” mode. The report noted that seven hurricanes struck the region in 2020 and 2021 alone.It’s entirely possible that some of the communities pummeled in recent years could face hurricane peril again this year. “With projections of average to above-average activity, all it takes is one storm to compound an already bad situation for many people,” Marshall says.NWS and FEMA cutsPiled atop these concerns is the situation within the federal government, with substantial budget and staffing cuts to the National Weather Service (NWS) and the Federal Emergency Management Agency (FEMA). “It remains to be seen what the impacts of reduced staffing across relevant NOAA offices and agencies will be,” says Brian McNoldy, a tropical storm researcher at the University of Miami. “But any loss of expertise, data collection capabilities and around-the-clock monitoring is troubling during critical, high-impact situations.”Though the National Hurricane Center (NHC) monitors the development of tropical storms and hurricanes and produces the main forecasts, local NWS offices still play a crucial role in providing more localized warnings about storm surge, flooding and winds. Many offices in hurricane-prone areas are understaffed, says Jeff Masters, a writer at Yale Climate Connections and a former Hurricane Hunter at NOAA. Among those, the NWS’s Houston and Miami offices are suffering the largest staff shortages. The NWS has asked staff from other offices to move into some of these open slots.Lowry and Masters also point out that the cuts have reduced the number of weather balloons launches. Balloon data are crucial for understanding the larger atmospheric patterns that determine where a hurricane will go—and who might need to evacuate or take other precautions.There is one positive note: “I was very pleased to see the Hurricane Hunters reinstated,” Trepanier says, referring to three of the meteorologists who fly specialized, equipment-laden planes directly into storms to gather data that significantly improve forecasts. “Though it isn't enough to offset the concern, it is a move in a good direction.”James Franklin, former chief of the NHC’s Hurricane Specialist Unit, says he is concerned about trainings for emergency managers that were canceled earlier this year Their absence could leave areas less prepared and less able to know what decisions to make based on forecasts. “When training has to be cut down…, it just makes those kinds of mistakes on the emergency management side more likely to occur,” he says.Finally, another big worry is simply the government’s ability to respond with help for victims when a storm hits. Masters’ biggest worry is that FEMA won't “be capable of managing a major disaster right now.”Reports by CNN and other news outlets have cited internal FEMA memos that report the loss of 30 percent of full-time staff. “I wrote the plan FEMA uses to respond to hurricanes,” says Lowry, a former employee of both the NHC and FEMA, “and it’s hard to imagine the agency will be able to meet its mission-critical functions this season with such depleted staffing and without a fully revised plan.”

Gone CDC can no longer help prevent lead poisoning in children, state officials say Under Trump, the CDC's Childhood Lead Poisoning Prevention Program was cut. Beth Mole – May 23, 2025 11:54 am | 97 The three recalled pouches linked to lead poisonings. Credit: FDA The three recalled pouches linked to lead poisonings. Credit: FDA Story text Size Small Standard Large Width * Standard Wide Links Standard Orange * Subscribers only   Learn more Amid the brutal cuts across the federal government under the Trump administration, perhaps one of the most gutting is the loss of experts at the Centers for Disease Control and Prevention who respond to lead poisoning in children. On April 1, the staff of the CDC's Childhood Lead Poisoning Prevention Program was terminated as part of the agency's reduction in force, according to NPR. The staff included epidemiologists, statisticians, and advisors who specialized in lead exposures and responses. The cuts were immediately consequential to health officials in Milwaukee, who are currently dealing with a lead exposure crisis in public schools. Six schools have had to close, displacing 1,800 students. In April, the city requested help from the CDC's lead experts, but the request was denied—there was no one left to help. In a Congressional hearing this week, US health secretary and anti-vaccine advocate Robert F. Kennedy Jr. told lawmakers, "We have a team in Milwaukee." But Milwaukee Health Commissioner Mike Totoraitis told NPR that this is false. "There is no team in Milwaukee," he said. "We had a single [federal] staff person come to Milwaukee for a brief period to help validate a machine, but that was separate from the formal request that we had for a small team to actually come to Milwaukee for our Milwaukee Public Schools investigation and ongoing support there." Kennedy has also previously told lawmakers that lead experts at the CDC who were terminated would be rehired. But that statement was also false. The health department's own communications team told ABC that the lead experts would not be reinstated. While Milwaukee continues to struggle, a Stat report Friday hints at losses yet to come. Looking back at the national scandal of lead-contaminated apple-sauce pouches, Stat reported that at least six of the CDC scientists and experts who worked on that nationwide poisoning event are gone. The poisonings were first revealed in cases in Hickory, North Carolina, where officials relied on help from the CDC to track down the source. The CDC's investigation subsequently identified 566 lead-poisoned children across 44 states, Puerto Rico, and Washington, DC, and helped get the tainted applesauce off shelves, Stat noted. If the poisonings had happened now, "we wouldn’t have been able to do the broad outreach to tell all the state lead programs to look out for this, and we wouldn’t have been able to measure the impact because CDC is the one that does that across state lines," one laid-off CDC worker told the outlet. Further, the CDC's Childhood Lead Poisoning Prevention Program is what funded the three North Carolina epidemiologists who collect and process lead-testing data. The funding runs out in October, and with the program now wiped out, it's unclear what will happen. "It’s hard to sleep through the night," Ed Norman, head of the children’s environmental health unit at North Carolina’s health department, told Stat. He tried asking CDC staff what happens after October, but everyone he had been in touch with is gone. Beth Mole Senior Health Reporter Beth Mole Senior Health Reporter Beth is Ars Technica’s Senior Health Reporter. Beth has a Ph.D. in microbiology from the University of North Carolina at Chapel Hill and attended the Science Communication program at the University of California, Santa Cruz. She specializes in covering infectious diseases, public health, and microbes. 97 Comments

On Thursday evening, the Supreme Court handed down a brief order, which temporarily permits President Donald Trump to fire two federal officials who, by law, are shielded from being summarily terminated. That, in itself, is not particularly significant because, on April 9, Chief Justice John Roberts acted on his own authority to temporarily permit Trump to fire the same two officials. So the practical effect of Thursday’s order in Trump v. Wilcox is simply to maintain the status quo.That said, the Thursday order does contain some important new information from the Court’s Republican majority. While the Republican justices have signaled for quite some time that they are eager to give the president broad authority to fire officials that Congress intended to insulate from presidential control, the order includes a paragraph signaling that they will not allow Trump to fire members of the Federal Reserve.From a legal perspective, the paragraph is difficult to parse. And, as Justice Elena Kagan writes in a dissenting opinion, is not supported by the legal authority it cites. But it is likely to reassure investors that, while the Supreme Court does appear eager to expand Trump’s authority over previously independent parts of the federal government, it won’t permit him to disrupt the Fed’s ability to make technocratic decisions about interest rates. The immediate stakes in Wilcox involve a former member of the National Labor Relations Board (NLRB), which enforces labor laws and adjudicates union-related disputes, along with a former member of the Merit Systems Protection Board (MSPB), which hears disputes claiming that a civil servant’s employment protections were violated. Trump fired both shortly after taking office, despite the fact that federal law only permits them to be fired for some sort of neglect or malfeasance.The NLRB and the MSPB, moreover, are just two of an array of “independent” agencies led by multi-member boards, whose members all enjoy similar employment protections – agencies such as the Federal Trade Commission, the Federal Communications Commission, and the Federal Reserve.For at least 15 years, when the Court handed down Free Enterprise Fund v. Public Company Accounting Board (2010), a majority of the justices have signaled that they are eager to strip Congress of its authority to create such independent agencies, and give the president full authority to fire these agencies’ leaders at will. Many economists and investors, meanwhile, have warned that it would be particularly dangerous to strip the Federal Reserve — which is supposed to set interest rates based on delicate economic calculations and not based on what will benefit the sitting president — of its independence, as doing so could throw the US economy into chaos.Thursday’s order is a clear signal that the Court has heard these concerns and does not intend to eliminate the Fed’s independence. It is unlikely to satisfy many constitutional scholars, as its explanation for why Federal Reserve leaders should be treated differently than the leaders of any other independent agency is so baffling that it appears contrived. Regardless of the underlying reasoning, however, the order does strongly suggest that this Court will not give Trump full control over the Fed.The “unitary executive,” briefly explainedTrump v. Wilcox is the culmination of a longstanding grudge many Republican legal elites hold against Humphrey’s Executor v. United States (1935), the Supreme Court case establishing that Congress may create independent agencies whose members may only be fired for cause. Though the leaders of these agencies are typically nominated by the president for a term of several years, and confirmed by the Senate, Humphrey’s Executor explained that laws protecting them from being fired while in office are supposed to ensure that they “act with entire impartiality,” and “exercise the trained judgment of a body of experts.”All six of the Court’s Republicans, however, have made it clear they believe in a theory known as the “unitary executive,” which is incompatible with Humphrey’s Executor.The Constitution provides that “the executive power shall be vested in a President of the United States of America.” In a 1988 dissenting opinion, which many legal conservatives now treat as if it were a holy text, Justice Antonin Scalia argued that “this does not mean some of the executive power, but all of the executive power.” And thus, if a federal official is charged with executing federal laws in some way, they must be fully subject to presidential control.If you take this unitary executive theory seriously, then there should be no doubt that Federal Reserve governors may be fired at will by the president. The Fed’s authority over interest rates, after all, derives from federal statutes instructing it to pursue the dual goals of “maximum employment” and “stable prices.” So the Fed is charged with executing federal laws.But the consequences of stripping the Fed of its independence could be catastrophic. In 1971, President Richard Nixon pressured Fed chair Arthur Burns to lower interest rates in advance of Nixon’s reelection race — the idea was to juice the economy right while voters were weighing Nixon’s record — and Burns complied. In the short term, this worked out great for Nixon. The economy boomed in 1972, and Nixon won reelection by a historic landslide. But Burns’s action is often blamed for years of “stagflation,” slow economic growth combined with high inflation, in the 1970s.The Fed, in other words, has the power to effectively inject cocaine into the US economy – giving it a temporary boost that can be timed to benefit incumbent presidents, at the cost of much greater economic turmoil down the road. It’s not hard to see how presidents could abuse their power if they can fire members of the Federal Reserve who refuse to give the economy such a temporary and costly high.One might think that these risks would be enough to caution the justices against overruling Humphrey’s Executor. But the Republican justices appear quite committed to the unitary executive theory, and they have been that way for quite some time. (If you want to know more about why they feel this way, I can refer you to three separate explainers I’ve written on this subject.)And so those justices spend the bulk of Thursday’s Wilcox order laying out the process they are likely to use to formally overrule Humphrey’s Executor. The order announces that the Trump administration is “likely” to prevail in its bid to fire NLRB and MSPB officials, and it temporarily blocks lower court decisions that reinstated the two officials at issue in this case. But the Court puts off the question of whether to formally repudiate Humphrey’s Executor until after the ordinary appeals process plays out and the justices receive full briefing and oral argument on whether to do so — which could happen as soon as the Court’s next term.The Wilcox order’s language protecting the Fed is gobbledygookEmbedded within all this language laying out the process to challenge Humphrey’s Executor is the paragraph indicating that the Fed is safe. While the two fired officials “contend that arguments in this case necessarily implicate the constitutionality of for-cause removal protections for members of the Federal Reserve’s Board of Governors or other members of the Federal Open Market Committee,” the order states, “we disagree.”The justices who joined the order then offer a single sentence explaining why: “The Federal Reserve is a uniquely structured, quasi-private entity that follows in the distinct historical tradition of the First and Second Banks of the United States.”It’s certainly possible to parse the components of this sentence. The description of the Fed as a “quasi-private entity,” for example, may refer to the fact that much of the Fed’s authority is wielded through regional entities, which are themselves controlled by board members who are mostly selected by commercial banks. But it is hardly unusual for members of the private sector to be given a formal role within government — just ask Elon Musk. Indeed, the Supreme Court heard at least two cases this spring involving the role experts from the private sector may play in setting government policy.The “First and Second Banks of the United States” are 18th- and early 19th-century predecessors to the Fed. The Supreme Court upheld Congress’s power to create national banks in McCulloch v. Maryland (1819), but the nation abandoned national banking under President Andrew Jackson, setting off a period of economic turmoil, including an economic depression shortly after Jackson left office.But it’s unclear what any of this has to do with the president’s powers as outlined in the Constitution. If the theory of the unitary executive is correct, then no entity — regardless of whether it is “quasi-private” or is part of a “distinct historical tradition” involving banks — may execute federal laws, unless that entity is controlled by people who are themselves under presidential control. As a legal matter, the Court’s explanation of why the Fed is special is nothing more than word salad.The only legal authority that the Wilcox order cites to support its claim that the Fed is special is a footnote in its pro-unitary executive decision in Seila Law v. CFPB (2020). But nothing in that footnote provides any support for this claim.As Kagan points out in her dissent in Wilcox, the only relevant language in that footnote is a throwaway line responding to her partial dissent in Seila Law. Kagan had argued that “federal regulators” historically have enjoyed some insulation from the president. The footnote dismisses this argument, stating that even “assuming financial institutions like the Second Bank and the Federal Reserve can claim a special historical status,” the agency at issue in Seila Law does not qualify.The Court, in other words, waved away Kagan’s argument that institutions like the Fed should be shielded from presidential control in Seila Law. Now, however, the justices in the majority appear to be signaling they believe there is some merit to Kagan’s argument.If the Court does formally overrule Humphrey’s Executor in the coming months, the justices in the majority will likely elaborate on why a different rule should apply to the Fed. The best reading of the Wilcox order’s one paragraph about the Fed is that a majority of the justices have already decided that they want to protect it, and they would now like some smart lawyers to file briefs coming up with an argument for that position — one that uses terms like “quasi-private” and that refers to the early history of national banking.Of course, this is not how the law is supposed to work — judges are not supposed to start with the outcome that they want and then invite members of the bar to explain how to get there. But this also will hardly be the first time that the Roberts Court started with its intended outcome and reasoned backward to get there. It’s just being more transparent this time around.See More:

A five-year court battle between tech titans Apple and Epic Games may finally be coming to a close.After months of explosive back-and-forth that went as high as the Supreme Court, Apple has reinstated Epic Games' landmark game, Fortnite, back onto its App Store.Fortnite — a free-to-play game which makes money from gamers spending cash on flashy cosmetics — began prompting users to bypass Apple's iOS payment system and pay Epic directly back in August, 2020. The move helped Epic get around Apple's 30 percent fee, a flat tax it charged all developers for selling on the App Store.Apple didn't like that, as Fortnite had over 116 million downloads through the App Store at the time. Apple argued Epic's payment portal violated the App Store's terms of service, and took the massively popular game off its platform.In response, Epic filed suit against Apple on antitrust grounds, launching an admittedly corny "Free Fortnite" campaign, which nonetheless posed a serious question: does Apple have the right to restrict developers' access to the billions of devices that exclusively use the iOS App Store?It's a question that took years to answer, and more twists and turns than a viral Fortnite dance. Apple countersued Epic, seeking damages from Epic's terms of service violation. In September 2021, Judge Yvonne Gonzalez Rogers issued a split decision, ruling with Apple on nine of ten counts, but awarding Epic a crucial injunction ordering Apple to allow apps to link to external payment platforms.Notably, Gonzalez Rogers found that Apple wasn't a monopoly, but rather a duopoly alongside Google, which was engaged in a similar legal battle with Epic over the Google Play store. She likewise ordered Epic to pay Apple $3.6 million in damages.Unhappy with the decision, both companies appealed, eventually escalating the issue to the Supreme Court, which declined to hear either appeal. Forced to allow developers to bypass Apple Pay, the company begrudgingly complied, but with on caveat. Apple now required developers to fork over 27 percent of the revenue made this way within 7 days of each transaction — a tactic known as malicious compliance.That, of course, spawned another series of lawsuits in March 2024, as Epic vowed to continue the fight and prove that Apple was acting in bad faith.Though Apple put on a cooperative face as the next phase kicked off, it would later emerge that the company's execs withheld documents, delayed proceedings, misled the court, and lied under oath.On the final day of that trial, Epic introduced a series of messages between senior PR executives at Apple, showing the tech giant's frustration at having to follow the law."How is this still going," wrote Apple corporate communications worker Hannah Smith during an earlier day of trial."I have no idea. I am stunned," replied Marni Goldberg, Apple's director of public affairs, and former press secretary for Senator Joe Manchin. "It's our F****ING STORE," she roared in a message minutes later. "This is very much pissing me off."Now knowing exactly who she was dealing with, Judge Gonzalez Rogers issued her scathing ruling on April 30, 2025, finding Apple "in willful violation" of the court's earlier decisions."In stark contrast to Apple’s initial in-court testimony... documents reveal that Apple knew exactly what it was doing and at every turn chose the most anticompetitive option," Gonzalez Rogers wrote."To hide the truth, Vice-President of Finance, Alex Roman, outright lied under oath," the judge found. Though Roman testified that Apple decided on the 27 percent fee in January 2024 — a split-second decision made after the Supreme Court declined to hear an appeal — other records prove the tech giant was plotting it as early as July 2023.The ruling found that the decision to ignore the injunction went as high as Apple CEO Tim Cook, who ignored advice to follow the court's decision, and instead went with his "finance team," which convinced him to go through with the 27 percent fee.  As Gonzalez Rogers wrote: "Cook choseSomehow, that wasn't enough hot water. After the April 30 decision, Apple began quickly approving updates to apps linking to third-party payment platforms, according to antitrust journalist Matt Stoller. However, there was one exception: Epic's Fortnite, which Apple had "determined not to take action on the Fortnite app submission" until after all lingering legal appeals were done.Presumably at her wit's end, Gonzalez Rogers issued a brutal one-page order, demanding Apple either make amends with Epic, or else sacrifice an Apple executive to the full wrath of the law."Obviously, Apple is fully capable of resolving this issue without further briefing or a hearing," the judge raged. "However, if the parties do not file a joint notice that this issue is resolved, and this Court’s intervention is required, the Apple official who is personally responsible for ensuring compliance shall personally appear at the hearing."Within a day of that final order, Apple folded, and has officially allowed Fortnite back on the app store (it's now estimated that the five year legal battle cost Apple $1 billion in lost revenue and legal fees.) Though the appeals battle still rages with Google, this one's a major win for software developers, publishers, and phone gamers everywhere.More on Apple: Tim Cook Has a Strange ObsessionShare This Article

On Life SupportMay 15, 3:38 PM EDT / by Noor Al-SibaiA Draconian Abortion Law Is Forcing Doctors to Keep a Pregnant Brain-Dead Woman Alive for Months So She Can Give Birth"Every day that goes by, it’s more cost, more trauma, more questions."May 15, 3:38 PM EDT / Noor Al-SibaiImage by Getty / FuturismDevelopmentsA draconian "heartbeat law" in Georgia is forcing a brain-dead pregnant woman to be kept on life support for months so she can deliver — all at the expense of her family.As Atlanta's WXIA-TV reports, the family of 30-year-old Adriana Smith, a nurse at the city's Emory University Hospital, was declared brain-dead more than 90 days ago after doctors found that she had blood clots in her brain.It's a particularly horrifying situation, highlighting the alarming state of reproductive rights in the US, especially following the overturning of Roe v. Wade in 2022, which struck down federal protections for abortion rights.Smith, as her mother, April Newkirk, told the broadcaster, was initially taken to the hospital for bad headaches earlier in her pregnancy. She was given medication and discharged — only to wake her boyfriend the next morning with loud, gurgling gasps for air.Upon finally conducting CT scans, doctors at Emory University discovered the clots. The window to do surgery to relieve the pressure had passed, and the young woman's family was left with few options but to let the clots take their course.Smith's body still hasn't been taken off of life support thanks to Georgia's "Living Infants Fairness and Equality" Act, which stipulates that after six weeks, when fetal heartbeats generally begin to be detected, any fetal death — including in the case of miscarriage — becomes illegal.Though there are carveouts in the case of rape, incest, or the mother's life being in danger, Smith's case falls into a legal grey area.Because her life is not per se "at risk" following the cessation of brain activity, Emory doctors decided that she must be kept alive until the child is ready to be delivered so that the fetus gestating will not die, a technicality required by Georgia's heartbeat law and many others like it that have proliferated in the three years since Roe v. Wade was overturned.At press time, Smith is about 21 weeks or five months pregnant, and the fetus growing inside her will only be considered viable at 32 weeks or more, which means that she has to be kept on life support for at least 11 more weeks under the hospital's strict reading of the law.According to Newkirk, the doctors at her daughter's former employer told her that there were no other legal avenues to pursue while they wait for the fetus to be viable for birth. She's concerned not only about the child she's soon going to have to raise, who may well have serious impairments due to his mother being in a vegetative state, but also about the massive bill she'll be footing."They’re hoping to get the baby to at least 32 weeks," Newkirk told WXIA. "But every day that goes by, it’s more cost, more trauma, more questions."In a statement to Newsweek, Emory representatives insisted their decision was made after consulting "consensus from clinical experts, medical literature, and legal guidance."Ironically, the relevant heartbill law — which was passed in 2019 but did not go into effect until 2022, when Roe was overturned — was rescinded for a week after a county court found that the state could not interfere with personal reproductive decisions prior to fetus viability at 32 weeks.Georgia's Supreme Court overruled that decision and reinstated the ban shortly thereafter, a move described by Monica Simpson of the SisterSong Women of Color Reproductive Justice Collective as "[siding] with anti-abortion extremists."Newkirk, meanwhile, said she's not sure what Smith or her family would have chosen had she been given the option to terminate the pregnancy to save her own life or be allowed to die naturally.Nonetheless, it should have been their choice to make."I think every woman should have the right to make their own decision," the mother told WXIA-TV. "And if not, then their partner or their parents."More on reproductive weirdness: Trump Appears to Have Accidentally Declared That Every Person in America Is Now FemaleShare This ArticleImage by Getty / FuturismRead This Next

Adobe Premiere Pro earns its status as industry-standard video editing software thanks to its familiar nonlinear editing interface, excellent performance, unmatched ecosystem of tools, and powerful capabilities. The massive application benefits from straightforward import and export experiences, while AI-powered auto-captioning, text-based video editing, and many other features keep it on the cutting edge. Premiere Pro earns our Editors' Choice award for professional-level video editing software. If video editing is more of a hobby for you, check out our Editors' Choice winner for enthusiasts, the less-expensive yet feature-packed CyberLink PowerDirector.Pricing: Subscription RequiredPremiere Pro is available by subscription only. It costs $22.99 per month with an annual commitment or $263.88 per year up front. A month-to-month option with no commitment goes for $34.49 per month. A free trial lasts just seven days.You can also get Premiere Pro as part of the complete suite of Adobe Creative Cloud professional applications that includes After Effects, Illustrator, Photoshop, and the rest. That costs $59.99 per month with an annual commitment, $659.88 per year up front, or $89.99 on a month-to-month basis. Business customers pay more for either package, at $37.99 per person per month for the single app or $89.99 for the whole suite. The Business version adds collaboration options, enhanced support, and management features. Education users pay less, starting at $19.99 per month for the whole suite for the first year and then $34.99 per month after that.Premiere's subscription pricing means the immediate dent in your pocketbook isn't as noticeable compared with when you had to plunk down $1,000 all at once to buy a perpetual license. A subscription model also means that the app gets regular updates with improvements and new features. For comparison, Apple's Final Cut Pro carries a one-time cost of $299. DaVinci Resolve charges $295, though you should first try its very capable free version. The nonprofessional programs for consumers who enjoy creating dazzling videos without the steep learning curves hover around $99 for a one-off purchase. That's what you pay for Adobe Premiere Elements. Pinnacle Studio Ultimate lists for $129.99, while CyberLink PowerDirector Ultimate costs $139.99 one-time or $74.99 per year for a subscription. A less-expensive tier of editors runs about $70 one-time, including Corel VideoStudio Pro and Filmora.(Credit: Adobe/PCMag)Can Your PC Run Premiere Pro?Premiere Pro runs on macOS 10.15 or later and Windows 10 (64-bit) version 22H2 or Windows 11. On Windows, it requires an Intel 6th-generation or newer CPU or an AMD Ryzen 1000 Series or newer, 8GB of RAM (16GB recommended), and a 1,920-by-1,080-pixel display. On Apple computers, Premiere Pro requires macOS 12 or later and an Intel 6th-generation or newer CPU, but also supports Apple silicon natively.When you install Premiere, you also get Adobe Media Encoder, which converts output to common formats for online and broadcast. It also enables batch processing and lets you keep editing during rendering processes.(Credit: Adobe/PCMag)What’s New in Adobe Premiere Pro?Adobe updates Premiere Pro every month or two with new tools, interface changes, and performance improvements. The biggest new announcements involve generative AI tools that can extend clips and search for media based on AI analyses. Here's a list of the important recent feature updates available for Premiere Pro (in order of importance):Generative Extend. This is the big AI-powered feature Adobe has long promoted. Available in the 25.2 release version, it lengthens your clip when you need to fill brief moments in your timeline.Media Intelligence. Premiere Pro indexes all your media with AI analysis, letting you later find any clips, sections of clips, or other media, based on images or sounds (including speech).Caption Translation. This feature lets you automatically translate either auto-generated or imported captions into a choice of 27 languages. Automatic Raw and Log Footage Conversion. Premiere Pro recognizes all major raw and log formats and automatically converts them to the color space you're using. Three new wide-gamut color spaces make everything look better on-screen.Support for MKV. The open-source codec has long been popular among file sharers. Premiere Pro users can now play and edit this content.Content Credentials Support. This important initiative allows creators to maintain ownership of their work and lets them tell AI bots not to train using it. Read my take on the initiative.Dynamic Waveforms. I was surprised that Premiere Pro didn't already have this feature since it has long been available in other video editing apps. It just means that dragging the waveform up or down in the timeline makes it larger or smaller.More Sample Media. This is great for learning how to use new features. Once you start up the app after the recent update, you see a project that shows you how to use Generative Extend.Previous recent updates of importance include:Audio Auto-Tagging and Enhanced Speech. Premiere Pro can detect and tag ambient audio, dialogue, music, and special effects. The app surfaces relevant controls for these sound types in the Essential Sound panel. The AI-powered Enhance Speech tool automatically cleans up unwanted audio noise.Automatic Transcription and Text-Based Editing. Premiere Pro can transcribe spoken audio in your clips and lets you edit—that is, split, merge, move, or delete—segments of video based on the transcription. Background Auto-Save. You can set Premiere Pro to auto-save in increments down to a minute. This works in the background without interrupting your work. A Dashboard for background processes shows your saves and other activities. A Recovery Mode lets you restore your project after a program crash or revert to a previous project state.Free Stock Sound Effects. Previously, Premiere Pro inexplicably didn't offer any stock sound effects, only background music. You now have many choices, including car doors slamming and explosions.Motion Graphic Template Views. The Essential Graphics panel is gone (you use the Properties panel for many of its functions), and there's a panel called Graphics Templates.Productions. Premiere Pro now uses a three-level nested hierarchy for editing: Productions, Projects, and Sequences. Productions comprise sets of Projects, which in turn can contain multiple timeline Sequences. You can move or copy media between Projects within Productions by dragging and dropping it.Interface and Ease of Use: Continual ImprovementsPremiere Pro has an attractive, flexible interface, and I'm a fan of Adobe's simplifying changes over the years. The startup view helps you quickly get to recent projects, start new projects, or search for Adobe Stock footage. The dark program window makes your clips the center of attention. It now has just three main modes (in addition to the Home screen): Import, Edit, and Export. A button or menu choice in Edit mode has a good selection of workspace layouts for Assembly, Editing, Color, Export, and more. You can pull off any of the panels and float them wherever you want on your display(s). It's also possible to create content bins based on search terms.By default, the editor uses a four-panel layout, with the source preview at the top left, a project preview at the top right, your project assets at the lower left, and the timeline tracks along the lower right. You can add and remove control buttons to taste; Adobe has removed a bunch of elements over the years for a cleaner interface. Since many editors rely on keyboard shortcuts like J, K, and L for navigating through a project, fewer buttons and a cleaner screen make a lot of sense. It's a very flexible interface, and you can undock and drag around windows to your heart's content. Here's another helpful feature: When you hover the mouse over a clip in the source panel, it scrubs through the video.(Credit: Adobe/PCMag)Premiere Pro is touch-screen-friendly, letting you move clips and timeline elements around with a finger or by tapping buttons. You can also pinch-zoom the timeline or video preview window. You can even set in and out points with a tap on thumbnails in the source bin. When you click on a media thumbnail, you get a scrubber bar and can mark in and out points right there before you insert the clip into your project. Premiere gives you several ways to insert a clip into your sequence. You can click the Insert or Overwrite buttons in the source preview monitor, or you can just drag the clip's thumbnail from the media browser onto the timeline or the preview monitor. Holding Command (or Ctrl on Windows) makes your clip overwrite the timeline contents. You can even drag files directly from the OS's file system into the project.The media browser also has tabs for Effects, Markers, and History, the last of which can help you get back to a good spot if you mess up. Markers, too, feature improvements, with the ability to attach notes and place multiple markers at the same time point. Markers can have durations in frame time codes, and the Markers tab shows you entries for every marker in a clip or sequence. Clicking on a marker entry jumps you right to its point in the movie.Any device that can create video footage is fair game for import to Premiere Pro. The software can capture from tape, with scene detection, shuttle transport, and time-code settings. It also imports raw file format from pro-level cameras like the Arri Alexa, Canon Cinema EOS C300, and Red Epic. The software supports resolutions of up to 8K. Of course, you can import video from smartphones and DSLRs. For high-frame-rate video, the program lets you use proxy media for faster editing.You can apply color labels to your clip or open the Metadata panel to view and apply tons of XMP information about a clip, but there's no simple keyword tagging capability. Productions, Projects, Sequences, Libraries, and Bins are available to organize your media.If you’re moving up from the consumer-level Adobe Premiere Elements, you can import your projects, especially since they use the same .PREL file format. But you still might lose some effects, even things like image filters and motion tracking. A project consists of one or more sequences, which in turn contain your clips. There are sequence templates for HDR, high-resolution, and social videos.Semantic Search With Media IntelligenceOne thing that has been missing from the editing interface is a permanent search box for finding commands, content, or help; other major apps, including Adobe’s Photoshop, include this. The Home screen has a search box, but its results are sometimes unhelpful. (Credit: Adobe/PCMag)However, you can now search for any of your media with the Media Intelligence search tool. It's in the top-right corner of the program window, a standard magnifying glass icon with the universal "spark" elements that designate the presence of AI. As you might expect, the tool had no problem coughing up clips with your search text in their captions or metadata. And it did a fine job finding clips with eye close-ups or water bodies. But, for some reason, it couldn't find clips based on color. I searched for "yellow" and "orange" to see if it could find my clips with those colors prominently in the background, but it found nothing. Trimming Project Clips: All the Options You Could WantPremiere Pro has four edit types that sound like they belong at a water park—Ripple. Roll, Slide, and Slip—along with a Razor tool for splitting clips and a Rate Stretch tool for speeding up or slowing down a clip to fill a specific length of time. You can easily access all of them at the left side of the timeline. The cursor shape and color give visual cues about which kind of edit you're dealing with. One welcome capability is that you can make edits while playback is rolling.(Credit: Adobe/PCMag)With the Ripple and Rolling edit tools, holding down the mouse button while moving a clip edit point (or double-clicking on an edit point) opens a view of both clips in the preview window—a helpful touch. If you double-click on the edit point, it switches to Trim mode. This shows the outgoing and incoming frames, with buttons for moving back and forward by one frame or five, and another to apply the default transition.As with Adobe Photoshop image layers, layer support in Premiere Pro lets you apply adjustments. These affect all tracks below them. You create a new adjustment layer by right-clicking in the project panel. Then, you drag it onto a clip on your timeline and start applying effects.Generative ExtendAs mentioned, Generative Extend is the feature Adobe is most excited about. It makes use of the emerging field of generative video AI courtesy of Firefly. As its name suggests, this feature lets you extend a clip, though just by up to 2 seconds. You can extend audio by a more practical 10 seconds, however. Perhaps that short video time limit signifies that Adobe intends this as a pro video editor tool rather than something that can generate full AI videos with deepfake potential.The feature adds a new basic editing tool to the toolbar along with Razer, Ripple, Slip, and the rest. Below is how it looks in the interface. When you hover over it, you see a tooltip explaining the new feature.(Credit: Adobe/PCMag)You might also notice a white gap in the timeline above. You can use the Generative Extend tool to drag the clip to the left or right and fill the empty space. When you do this, a timer shows you the progress—it's not an instantaneous operation and requires sending the clip to Adobe's servers. After using the tool, you first see an "Uploading" message on the clip, then "Generating," and finally "AI-generated." After it showed this last message, my clip didn't appear extended in the timeline. Instead, I saw a placeholder image from Adobe telling me that it was generating the AI clip. After a few more seconds, my test clip was extended to fill the gap and showed realistic motion. You can see the added frames below as the playhead crosses the section marked AI-generated:The result in my test is pretty convincing, but I wouldn't trust it to extend a clip of a person speaking. Other video AI generators go much further. For example, Sora can create up to 15 seconds of video and lets you describe what you want to see. That's even possible with the consumer-minded Filmora.Adobe's Firefly can extend clips, too, but it requires you to spend credits each time. Generative Extend is free for a limited time in Premiere Pro, but Adobe doesn't specify when the free lunch ends. You can see the list of credit costs and how many each account type gets on this intimidating FAQ page. Generative Extend can produce frames at up to 4K resolution, but those cost more credits than lower-resolution ones. Transitions and Effects: Abundant OptionsEnthusiast-level video editors tend to have a huge number of transitions, so it might surprise you that the professional-grade Premiere Pro includes just 47 (you can install plug-ins for more). Many professionals find a lot of transitions tacky, so when they want to add a fancy transition, they build one in After Effects or buy polished ones from third parties.Premiere Pro has all the video effects you'd expect—colorizing, keying, lighting, and transforming. You can apply an effect just by double-clicking. A search box makes it easy to find the effect or transition you need.The Warp Stabilize feature (originally from After Effects) is very effective at smoothing out bumpy video. This feature now works quicker than before. In testing, it got through a 1:33 (min:sec) clip from a moving tram in 2:38, smoothing out all but the biggest shakes. You can adjust the amount of cropping, make the borders auto-scale, and tweak the smoothness percentage. A cool option is No Motion, compared with the default Smooth Motion. Using it with Stabilize Only (as opposed to adding Crop, Autoscale, or Synthesize Edges) resulted in a weird (and unusable) zooming in and out with rotation in my test, so be careful with the settings you use. The result with default settings is noticeably smoother than with Final Cut Pro in testing.Color AdjustmentsThe Lumetri Color manager in Premiere Pro brings the program in line with Photoshop for video. These tools give you a remarkable amount of color manipulation, along with a great selection of film and HDR looks. Black point, contrast, exposure, highlights, shadows, and white balance adjustments are available—all of which you can activate with keyframes. It includes Faded Film, Saturation, Sharpen, and Vibrance adjustments, too. The curves and color wheel options are impressive and include a Color Match feature with face detection and comparison views. There's also a very cool Lumetri Scope view, which shows the current frame's proportional use of red, green, and blue.Recommended by Our Editors(Credit: Adobe/PCMag)You can opt to apply any of these effects only in masked areas, which you can create from polygons or by using a pen tool. For motion tracking, however, you need to look to After Effects, so those masks won't automatically track, say, a face.(Credit: Adobe/PCMag)Auto Color is something we've seen in photo editing software for many years, but Adobe claims the tool analyzes an entire clip using its patented Sensei AI technology to improve contrast, exposure, and white balance. Unfortunately, it works only on a per-clip basis; it would be nice if you could apply it to your whole sequence, that is, the group of clips and overlays that comprise your digital movie. The above screenshot shows Auto Color's adjustments, which you can then tune to your taste. In testing on several clips, this tool improved both the color and the lighting in testing with several clips but occasionally pumped up saturation too much. Unfortunately, Premiere lacks video noise reduction features like those in CyberLink PowerDirector and DaVinci Resolve.Auto ReframeA good chunk of today's video content ends up on social media, which means different aspect ratio formats. Auto Reframe uses Adobe’s Sensei AI technology to identify what's important in the frame and then crop to 16:9, square, vertical, or custom aspect ratios to match the output device or service. You can use the tool on individual clips or entire sequences.(Credit: Adobe/PCMag)You can either drag the video effect onto a clip or choose Auto Reframe from the Sequence menu. Then, you can choose the output aspect ratio, motion tracking, and whether you want clip nesting.Facebook, Instagram, Snapchat, YouTube, and Vimeo, as well as broadcast outlets, all have different spec requirements, so the feature saves video producers the work of having to custom edit for each. At the very least, Auto Reframe gives producers a starting point; its Nested option means you can adjust what it creates to taste.Apple has a similar tool in Final Cut Pro called Smart Conform. It’s nearly identical to Auto Reframe. Smart Conform also bases the crop on your project aspect ratio setting rather than creating new aspect ratio versions to taste. One thing I prefer about Final Cut’s feature is that it lets you see how the effect worked by showing the full frame outside the automatically cropped area.Collaboration: Excellent FeaturesPremiere Pro lets you use Creative Cloud Libraries to store and organize assets online, and the Team Projects feature lets editors and motion graphics artists using After Effects collaborate in real time. When you create a project, you simply choose Team Project and designate team members. When you're happy with an edit, tap the Publish button so the other members see it. Any Premiere user can sync settings to Creative Cloud, enabling editing from different PCs and locations. (Credit: Adobe/PCMag)These collaboration features also mean you can go to any machine running Premiere and see your workspace when you sign in. Getting this kind of collaboration and workflow capability in Final Cut Pro requires third-party extensions. Similarly, consumer-targeted products like PowerDirector don't have any collaboration features to speak of. Premiere Pro also has a Share button for Team projects, which lets you invite collaborators to your project via email.Frame.io IntegrationAdobe acquired Frame.io in 2021, and Premiere Pro subscribers now get a Frame.io account with 100GB of online storage for five projects. That's separate from the 100GB of Creative Cloud storage. After removing the Frame.io panel from Premiere Pro in favor of a plug-in, Adobe has reinstated it in the current version, with choices for Legacy, V4 Comments, and V4 Preview.(Credit: Adobe/PCMag)Note that you need a Version 4 frame.io subscription to use the new features. The upgrade process isn't as simple as it might be, either: you have to wait for an email from frame.io for it to finalize. In its favor, the newer version of the service adds features like connected comments, metadata, and user permissions. You can attach comments to specific time codes in the sequence, which is a big help to editors. You can't simply log in to your frame.io account with your Adobe account through Creative Cloud, however. Multi-Camera Editing: Powerful Tools Multicam support in Premiere Pro can accommodate an unlimited number of angles, limited only by your system capabilities. Final Cut Pro lets you work with only 64 angles, though most projects won't need more. In Premiere, you select your clips and choose Create Multi-Camera Source Sequence from the right-click or Clip menus, and then choose a syncing method. The program does a good job of syncing clips based on their audio, which is helpful for DSLR-shot clips that have no time codes. As in Final Cut, a Multi-Camera Monitor lets you record angle changes as the composite video plays, either by simply clicking on the angle's tile or the corresponding number. You can then adjust the cuts with the normal editing tools. Adobe adds an option for multicam editing preference: Ripple trim adds edits to keep both sides in sync.Titles and Captions: Ample SupportAs you might expect, Premiere Pro has a wealth of text options for titles and captions. It can import SRT or XML files. For titles, you get a great selection of fonts, including Adobe TypeKit fonts. You can set crawling, leading and kerning, opacity, rolling, rotation, texture, and more. As in Photoshop, you can apply strokes and shadows to any font. Stroke styles let those with very particular typographic needs choose the type of caps the strokes have, including bevel, miter, and round. Advanced text animation, however, once again falls to After Effects. For comparison, enthusiast-level programs like PowerDirector and Pinnacle Studio build in a good selection of title animations.(Credit: Adobe/PCMag)Automatic TranscriptionsOne of the coolest recent features in Premiere Pro is Transcribe Sequence. This feature uses speech recognition technology to produce a text panel from spoken words in the sequence. It can impressively separate multiple named speakers. You can then jump to the place in the timeline by tapping on words in the panel, and pauses are marked with [...], letting you find and remove them easily. The panel lets you edit the text and combine or separate text blocks, and its CC button automatically creates a caption track using the transcription. (Credit: Adobe/PCMag)The caption editing panel lets you redistribute words among the captions, each of which becomes a separate timeline clip. You can split or merge caption clips and edit the style of all the separate caption clips at once. Then, you export to an SRT or text file or burn the captions into your video project.Automatic Caption TranslationOne welcome new feature is AI translation of captions in 27 languages. This works either with auto-generated captions or imported caption files. Click the translation icon in the Captions panel, and you get a choice of source and target languages. You can also drop down more choices to reveal time and character limits for generated timeline entries. When Premiere Pro finishes processing everything, you see a second caption track in the timeline right above the previous one. This lets you display more than one caption language at once. In my testing, the feature worked quickly and accurately. Keep in mind that Premiere Pro sends data to Adobe's servers for processing.(Credit: Adobe/PCMag)Text-Based Editing: A Whole New Streamlined ApproachAn extension of the auto-transcription capability is the option to edit based on the transcripts. You can select text in the transcription panel and move or delete it, and Premiere Pro adjusts the video clip accordingly. The program lets you automatically highlight filler words (um, ah) or pauses and then delete them all at once, which can be a huge convenience for interviews or expository videos. One issue I have is that the skips are abrupt. Adobe should include an improved version of the Morph Cut transition (similar to Final Cut Pro's excellent Flow transition) in the Text-based Editing interface to fix this. Unfortunately, the current version of Morph Cut caused artifacts in my video. (Credit: Adobe/PCMag)DaVinci Resolve now offers text-based editing capabilities, too, though Apple has yet to announce them for Final Cut Pro.360-Degree VR Video Editing: Decent SupportPremiere Pro lets you view 360-degree VR footage and change the field of view and angle. You can view this content in anaglyphic form, which is a fancy way of saying you can see it in 3D using standard red-and-blue glasses. You can also have your video track the view of a head-mounted display.(Credit: Adobe/PCMag)The program, however, couldn't open my Samsung Gear 360 stereoscopic footage unless I converted it to an equirectangular format (this is the only VR format Premiere supports). Corel VideoStudio, CyberLink PowerDirector, and Pinnacle Studio can all open the footage without this conversion. You can't see the spherical view alongside the flattened view as you can in those apps, either, but you can easily toggle back and forth between these views if you add the VR button to the preview window. Helpfully, Adobe’s tool lets you tag a video as VR so that Facebook and YouTube properly recognize it.Audio Editing: Deep OptionsPremiere Pro's Audio Mixer shows balance, pan and VU meters, clipping indicators, and mute/solo controls for all timeline tracks. You can use it to make adjustments as the project plays. Premiere Pro automatically creates new tracks when you drop an audio clip in the timeline, and you can specify types like standard (which can contain a combination of mono and stereo files), mono, stereo, 5.1, and adaptive. Double-clicking the VU meters or panning dials returns their levels to zero.The audio meters next to your timeline are resizable and let you solo any track. The program also supports hardware controllers and third-party VSP plug-ins. If you have Adobe Audition installed, you can round-trip your audio between that and Premiere for advanced techniques such as Adaptive Noise Reduction, Automatic Click Removal, compression, Parametric EQ, and Studio Reverb.(Credit: Adobe/PCMag)For background music, you get a large selection of clips from Adobe Stock (some of which are free). A relatively new Free switch lets you see only those clips you don't need to pay for. The program now has a full selection of sound effects, such as car door slams, crowd cheers, and explosions. You find these within the Essential Sound panel, which also lets you designate your audio tracks as Ambience, Dialog, Music, or SFX—either manually or via the AI-powered Auto Detect tool. (Credit: Adobe/PCMag)Switch to the Browse tab to find audio stock, which you can filter by mood or search by term. None of these auto-fits your project length automatically, but you can use the Remix trimming tool to do that. Professionals will likely have a full Creative Cloud subscription, which lets them get sounds through Adobe Audition. The SFX clips include detailed options—not just "car door slam," for example, but specific options like a 1941 Cadillac or 1975 Ford F150 Pickup. The recent Enhance Speech tool does a remarkable job of removing background noise when you are editing a piece shot in a noisy environment. Essential Sound provides another very useful capability: auto-ducking for ambient sounds, which pulls back background noise during dialog or sound effects.Export: Many Output OptionsA clear Export mode button lives at the top of the editing interface, in addition to the Quick Share button at the top right. The simplified Export interface in Premiere doesn't mean you can't go into every little detail about the file you need to render. You now see a list of common output targets along the left—Media File, YouTube, Vimeo, TikTok, Twitter, and Facebook—along with Adobe's own Behance and Creative Cloud online services. Importantly, you can export to as many as you want with one press of the Export button by toggling several choices. You can also send your rendering job to Adobe Encoder if you want to batch render and get back to editing in Premiere Pro without waiting for the export to finish.(Credit: Adobe/PCMag)The categories in the middle section of the interface (in the above screenshot) all allow for fine-tuning, thanks to drop-down arrows. For example, click on Video here, and you can set not only the frame size, frame rate, and aspect ratio but also the bit rate, color space, and time interpolation. For the rest of us, the updated interface thankfully hides those brain-hurting settings.Premiere Pro gives you most formats you want, and for more output options, Adobe Encoder can target Blu-ray, DVD, Facebook, Twitter, Vimeo, and many other devices. Encoder lets you batch encode to target multiple devices in a single job, such as mobile phones, iPads, and HDTVs. Premiere can also output media using H.265 and the Rec. 2020 color space, as can Final Cut. However, Final Cut requires you to buy the separate Compressor 4 add-on ($49.99) for this functionality.(Credit: Adobe/PCMag)The Quick Export option lets you tap the share icon at the top right, and you can produce the project with minimal fuss using a choice of seven preset formats: Match Source—Adaptive High, Medium, or Low Bitrate; 4K, 1080p, 720p, and 480p.A new option during export is to embed Content Credentials metadata. If you use AI generation tools in any of your project's assets, you see a simple check box called Export Content Credentials, which attaches the credentials to the exported content. Anyone can then check the credentials on Adobe's Content Authenticity site's Inspect page.Performance: Fast Render SpeedsPremiere Pro takes advantage of 64-bit CPUs and multiple cores. For render speed testing, I have each program I test join seven clips of various resolutions, ranging from 720p up to 8K. I then apply cross-dissolve transitions between them and note the time it takes to render the project to 1080p30 with H.264 and 192Kbps audio at a bitrate of 16Mbps. The output movie is just over five minutes in length. I ran this test on a Windows 11 PC with a 3.60GHz Intel Core i7-12700K, 16GB RAM, an Nvidia GeForce RTX 3060 Ti, and a 512GB Samsung PM9A1 PCIe 4.0 NVMe SSD.Premiere Pro sits near the top of the leaderboard, with an impressive time of just 35 seconds. Premiere periodically auto-saves your work, in case you forget to save explicitly. If you do encounter a crash, it presents you with a Reopen button in a red warning message upon restart.

TechTarget and Informa Tech’s Digital Business Combine.TechTarget and InformaTechTarget and Informa Tech’s Digital Business Combine.Together, we power an unparalleled network of 220+ online properties covering 10,000+ granular topics, serving an audience of 50+ million professionals with original, objective content from trusted sources. We help you gain critical insights and make more informed decisions across your business priorities.Epic Games CEO resubmits Fortnite to Apple App Review... againEpic Games CEO resubmits Fortnite to Apple App Review... again'There is no way a rapidly evolving multi-platform game like Fortnite can operate if platforms use their power or processes to obstruct.'May 15, 20252 Min ReadImage via Epic GamesEpic Games has resubmitted Fortnite to Apple App Review in the US after suggesting there was no reply to a previously submitted version.According to CEO Tim Sweeney, Fortnite was submitted to Apple for review on May 9. Yesterday, he posted on X (formerly Twitter) that Apple hadn't approved the game's release (thanks, VGC)."We need to release a weekly Fortnite update with new content this Friday, and all platforms must update simultaneously. So we have pulled the previous Fortnite version submitted to Apple App Review last Friday, and we have submitted a new version for review," the post read.Since May 10, Sweeney has been sharing daily updates on X, saying that there was "no news" from Apple, in response to people asking about the review status.Yesterday, an X user asked Sweeney how he "did not plan for this." The CEO response was as follows: "Our release planning relies on platforms supporting app developers like us releasing apps. There is no way a rapidly evolving multi-platform game like Fortnite can operate if platforms use their power or processes to obstruct."As spotted by VGC, according to the App Review guidelines, on average, 90 percent of submissions are reviewed in less than 24 hours by Apple.Epic and Apple are still battling over the app storeRelated:This week's news is the latest in a series of developments around a years-long legal battle between the two companies to reinstate Fortnite on iOS. In January 2024, the game became available in the European App Store again. Two months later, Epic claimed that its European account had been "terminated," which was a "serious violation" of Europe's Digital Markets Act. The account was reinstated the next day."This sends a strong signal to developers that the European Commission will act swiftly to enforce the DMA and hold gatekeepers accountable," the company wrote in a statement at the time.Then, in June of the same year, a new law passed by Japanese parliament opened the door for Epic to submit Fortnite to Apple Japan's App Store. The bill is set to take effect in late 2025. Back in December, the developer also secured a deal to preinstall the game onto Android phones in UK and Spain."Fortnite will now return to iOS in Japan and UK next year, and EU this year! This is the new free world, from the point of view of app developers and users. It’s a big club and we ain't in it: The United States of America is still locked behind Apple's Iron Curtain," Sweeney said on X in June 2024.Disclosure: The author of this piece has previously contributed editorial work to the Epic Games Store News section.Related:Read more about:Top StoriesAppleEpic GamesDaily news, dev blogs, and stories from Game Developer straight to your inboxStay UpdatedYou May Also Like

An update to the examination policies of the National Council of Architectural Registration Boards (NCARB) has been provided. As of now, all 55 state licensing boards have officially retired the five-year rolling clock policy for the Architect Registration Examination. It is being framed as a "milestone" that removes longstanding barriers to obtaining licensure before entering practice.  This formalizes the end of the rolling clock policy that began first with an NCARB decision in 2023 and was later adopted by the local jurisdictions. In its place, the new Score Validity Policy has been adopted. It requires that all results from the current and most immediate exam (e.g. ARE 5.0 and 4.0) be recognized in place of the set time period for accepting passed divisions.   This can potentially impact thousands of candidates whose exam credits have been reinstated since they stopped pursuing licensure, as the NCARB mentioned in its 2024 update. As of this month, approximately 7,000 ARE credi...

The dust has finally settled in Bartlesville, Oklahoma, following a whirlwind of controversy that arose amid efforts to preserve Frank Lloyd Wright’s only built skyscraper: Price Tower. The 1956 building was sold to McFarlin Building, a Tulsa-based company that says it plans to restore the copper and concrete beauty in the heart of the town.  Originally designed for Harold C. Price Sr., the mixed-use tower housed corporate headquarters for H.C. Price Pipeline Company, leasing space for smaller firms, and luxury apartments. After Price’s corporate headquarters relocated to Dallas, Phillips Petroleum took over from 1981 until 2001 when the Tower was donated to the Price Tower Arts Center (PTAC), a private nonprofit. After ensuing restorations, the Tower housed the Price Tower museum; The Price Tower Arts Center; and The Inn at Price Tower, a ritzy hotel.  In 2011, the PTAC board donated a preservation easement to the Frank Lloyd Wright Building Conservancy, four years after the Price Tower became a National Historic Landmark. The easement protects the tower itself along with artwork, furnishings, and other features within it specifically designed by Wright as part of the Tower. As the PTAC struggled to maintain the building’s expenses, the board decided to terminate the organization and sold the Tower to Green Copper Holdings in March 2023 for $10 and the assumption of the building’s $600,000 debt. All was well, until it wasn’t.   The 19-story building primarily features concrete and copper. (Leonid Furmansky) Going Once Financial hurdles persisted. In the spring of 2024, alerted the Conservancy that valued ephemera protected by the easement had been sold to a midcentury design collector in Dallas without the Conservancy’s knowledge or approval.  Cynthia Blanchard of Copper Tree contended that the sale was imperative due to a lack of funding. By that point, the Towers’ debt had allegedly accumulated to over $2 million. The Conservancy argued Blanchard had no right to make that decision independently, and that the sale of the protected items jeopardized the space’s historic value.  Legal communications were sent by the Conservancy to Blanchard, Green Copper Holdings, and others alerting them of the items’ protection with hopes to settle matters internally. However, Copper Tree later filed a lawsuit against the Conservancy claiming the preservation easement was null and void due to the transfer of ownership in 2023—despite the easement’s attachment to the property deed. As the Conservancy fought back, the future of Wright’s work still remained uncertain.  At the time of its construction, Price Tower was the tallest building in Bartlesville. (Leonid Furmansky) Going Twice McFarlin Building signed a contract in May 2024 to buy Price Tower for $1.4 million, however, Blanchard claimed this contract was canceled due to “extensive and unreasonable last-minute demands.” In October 2024, Copper Tree put the building up for auction, seeking a new buyer, and McFarlin stepped in again, filing a lawsuit that cited its previous sale. News of all this also came to light after the Blanchards had evicted all the tenants; laid off Tower staffers; and barred public access to the museum, inn, and arts center seemingly in preparation for auction. Amid the legal proceedings, Price Tower was pulled from the auction block. The lawsuit added a layer of urgency to the matter, citing the lack of insurance and current fire protections as putting the building at risk.   Sold! In January, a judge ruled to approve the sale to McFarlin, per the original contract, and required the utilities be immediately reinstated to protect the building against freezing temperatures. In one final twist, Copper Tree filed for bankruptcy, putting the building up for auction. When the resulting bankruptcy auction failed to pull other bidders, McFarlin ended up with the building. John Snyder, who manages McFarlin, has taken part in the revitalization of multiple properties in Tulsa, including the Mayo and Aloft Hotels. His daughter, Macy Snyder-Amatucci, is the president of Brickhugger, a restoration company that is the principal owner of McFarlin. Prior to the auction, the Conservancy and McFarlin signed a Memorandum of Understanding to ensure the easement would be protected should McFarlin win the bid. While the fate of the items sold off last spring remains in the wind, the new agreement secures the rightful place of  the rest of the collection.  During an easement visit this March, the Conservancy concluded that while the collections and key historic interiors at Price Tower were “overall in fair to good condition,” significant investments would need to be made to the building upon purchase, mainly due to water damage. At this time, it seems McFarlin is ready to take on the task.  “We look forward to this next chapter for the Price Tower, and to building a strong preservation partnership with its new owners,” the Conservancy shared in a recent statement. “There is significant work ahead, but the infusion of new financial resources, together with a sustainable business plan, gives us great optimism for the tower’s future.”