6 June, 2025 In our weekly interview series, design leaders answer five questions about design, and five questions about leadership. Michelle Noel is the founder and strategy director at London branding and design agency Studio Noel, whose clients include Centrepoint, the Natural History Museum, and Imperial College London. Design What would your monograph be called? I actually asked my team about this one, and this is what they came up with – That Pencil Better Be Sharp. This may be down to me only ever writing in pencil and them taking the piss! What recent design work made you a bit jealous? It’s not recent, but I still love Pentagram’s Battersea Cats and Dogs home rebrand. I love the energy in the identity and the illustrative approach which feels really expressive and representative of all the different breeds. What’s an unusual place you get inspiration from? It’s always been about going outside and getting away from the screen. Walking helps me get inspired as it gives my mind the ability to be still, and I find then that ideas naturally come. Name something that is brilliantly designed, but overlooked. The pencil sharpener. There are some beautifully designed old ones that are really interesting in how they work. What object in your studio best sums up your taste? We commissioned Rachel Joy to create a piece of art for our studio. I love the bold typography and colour palettes that she uses in all of her signwriting artwork. Studio Noel’s Rachel Joy artwork Leadership What feedback felt brutal at the time but turned out to be useful? When we first started out as an agency, our website and logo were intentionally minimal. But during a pitch, a client casually remarked, “We didn’t really have a brand identity.” It was a passing comment, but it stuck with me. I realised that while we were focused on our clients, our own identity wasn’t shining through, especially in our proposals. That moment prompted a shift. We went back to refine and strengthen how we presented ourselves, making sure our brand was clear, consistent and confidently expressed in everything we created from that point on. What’s an underappreciated skill that design leaders need? Leadership is about stepping back and giving others the space to grow. Creating room for more junior team members to try and even fail. This accelerates their development and builds confidence. We’ve also learned that great ideas can come from anyone in the business, regardless of their role or level. Embracing that mindset has been key to our agency’s growth. What keeps you up at night? Often it’s an idea or opportunity sparked by something I’ve read. It could be a new way to approach a strategy, a shift in how we work, or even a big-picture concept that could shape our growth. What trait is non-negotiable in new hires? We’re looking for curious, collaborative individuals eager to learn and grow with us. There’s no room for big egos. As we grow the business, we want people who are just as invested in shaping its future. Complete this sentence, “I wish more clients…” ….prioritised accessibility in their branding. We do a lot of work in this area, including training teams on both the client and agency side, and we’ve seen first-hand how powerful it can be. Often, the barrier is simply a lack of knowledge, both in what makes a brand accessible and in the broader benefits, like significantly increasing audience reach. With nearly one in five people in the UK living with a disability, that’s a huge portion of their audience that could be unintentionally excluded. Brands in this article What to read next design/leader: OCCA founder Kate Mooney Interior Design 8 May, 2025

Get the Popular Science daily newsletter💡 Breakthroughs, discoveries, and DIY tips sent every weekday. Our smartphones have transformed the way we take photos and videos and our relationship to these digital memories. Most of us will snap at least some pictures and clips every day with the gadget that’s always close at hand. If you want to get more creative with photos on your phone, you can. Sometimes you’re going to want to take a picture remotely, without your phone in your hand and your finger over the shutter button—maybe you’re taking a wide shot of a large group, or you want to capture a lot of your surroundings. Not only is this possible, there are multiple ways to go about it, no matter which flavor of phone you own. You can pick the one that you find the easiest to use, or switch between them as you need. Use your smartwatch If you’ve got an Apple Watch, it comes with a Camera app. Image: Raagesh C/Unsplash If you’ve got a smartwatch to match your smartphone, you can use it to take photos remotely, as long as you’re within about 33 feet (10 meters) of the phone. Get your handset in position first, then load up the relevant app on your watch—though you can then go back and readjust the phone if needed. With the Apple Watch and an iPhone, the app you want on your wrist is the Camera Remote app, which comes preinstalled. A viewfinder screen from your iPhone will appear: Use the digital crown to zoom, and the shutter button (in the middle) to take a shot. By default, a three-second timer is used, but you can change this by tapping the button with the three dots (lower right). For those of you with an Android phone and a Wear OS smartwatch, you can use Google’s default Camera app, which you should find preinstalled on your watch. Launch it from your wrist, and the Camera app should open on your connected phone: You can zoom using the slider on the right, and take a photo (with a three-second delay) by tapping the shutter button with a 3 on it. To change this delay, tap the three lines at the top. Use your voice Settings for Voice Control on iOS. Screenshot: Apple No matter what phone you have, it’ll come with support for voice commands—and one of those commands will let you take photos. This will only work where your phone is close enough to hear you, and where you’re happy to talk to it, but it can be useful in certain situations for remote controlling the camera app. On the iPhone, Siri can open the Camera app but won’t actually take a photo. To enable voice controlled capture, open Settings and choose Accessibility > Voice Control, then turn the feature on. The same page has a Commands menu where you can set up your custom voice command for taking photos, which will work from the viewfinder screen. On Android, it’s even easier: Just say “hey Google, take a photo”—you can even add a number of seconds for a timer countdown. Gemini is now the default assistant for this task: To make sure it responds to voice commands, open the app, tap your profile picture (top right), then choose Settings > “Hey Google ” & Voice Match. Use the timer Configuring the timer on a Pixel phone. Screenshot: Google This is a really straightforward one, and you don’t need any extra apps or devices to get it set up. Your phone’s camera app comes with a timer control, so you can position the shot, set the timer, and then get in the frame. There’s a bit of guesswork involved, especially if you’re using your phone’s rear camera (as you won’t be able to see yourself), but it’s a simple option. On the iPhone, you can tap the arrow near the top of the Camera app screen to reveal extra camera options at the bottom. Scroll through the icons until you reach the one that looks like a stopwatch. Tap this, and you can choose between a 3-second, 5-second, and 10-second delay when you press the shutter button. On Pixel phones, tap the gear icon (lower left in portrait mode) to find the timer control: As on the iPhone, the delay options are 3 seconds, 5 seconds, or 10 seconds. If you’re using the Camera app on a Galaxy phone, tap the four dots (to the right in portrait mode), then the timer icon (which looks like a stopwatch), and you get the same delay options. Use another method The latest Pixel phones have a Connected Cameras feature too. Screenshot: Google You’ve got yet more options for this if you need them. One is to use a simple Bluetooth clicker as a remote control: There are a whole host to choose from, such as this CamKix model that will cost you a mere $5.49. They work across iOS and Android and are easy to connect to your camera app. If you have two Pixel 9 phones, you can also use a special feature called Connected Cameras. You can find it from Settings by tapping Connected devices > Connection preferences > Connected Cameras: You get a brief explanation of what the feature does, and you can turn it on via the Use Connected Cameras toggle switch. This is a niche use case, as it only works with two handsets from the Pixel 9 series (at least for now). But if those are the phones you and your family have, you can use one to take photos through the camera of the other; head to the official guide from Google for more details on how it works.

On November 4, 2003, a doctor gave Jon Gluck some of the worst news imaginable: He had cancer — one that later tests would reveal as multiple myeloma, a severe blood and bone marrow cancer. Jon was told he might have as little as 18 months to live. He was 38, a thriving magazine editor in New York with a 7-month-old daughter whose third birthday, he suddenly realized, he might never see.“The moment after I was told I had cancer, I just said ‘no, no, no,’” Jon told me in an interview just last week. “This cannot be true.”Living in remissionThe fact that Jon is still here, talking to me in 2025, tells you that things didn’t go the way the medical data would have predicted on that November morning. He has lived with his cancer, through waves of remission and recurrence, for more than 20 years, an experience he chronicles with grace and wit in his new book An Exercise in Uncertainty. That 7-month-old daughter is now in college.RelatedWhy do so many young people suddenly have cancer?You could say Jon has beaten the odds, and he’s well aware that chance played some role in his survival. (“Did you know that ‘Glück’ is German for ‘luck’?” he writes in the book, noting his good fortune that a random spill on the ice is what sent him to the doctor in the first place, enabling them to catch his cancer early.) Cancer is still a terrible health threat, one that is responsible for 1 in 6 deaths around the world, killing nearly 10 million people a year globally and over 600,000 people a year in the US. But Jon’s story and his survival demonstrate something that is too often missed: We’ve turned the tide in the war against cancer. The age-adjusted death rate in the US for cancer has declined by about a third since 1991, meaning people of a given age have about a third lower risk of dying from cancer than people of the same age more than three decades ago. That adds up to over 4 million fewer cancer deaths over that time period. Thanks to breakthroughs in treatments like autologous stem-cell harvesting and CAR-T therapy — breakthroughs Jon himself benefited from, often just in time — cancer isn’t the death sentence it once was.Our World in DataGetting better all the timeThere’s no doubt that just as the rise of smoking in the 20th century led to a major increase in cancer deaths, the equally sharp decline of tobacco use eventually led to a delayed decrease. Smoking is one of the most potent carcinogens in the world, and at the peak in the early 1960s, around 12 cigarettes were being sold per adult per day in the US. Take away the cigarettes and — after a delay of a couple of decades — lung cancer deaths drop in turn along with other non-cancer smoking-related deaths.But as Saloni Dattani wrote in a great piece earlier this year, even before the decline of smoking, death rates from non-lung cancers in the stomach and colon had begun to fall. Just as notably, death rates for childhood cancers — which for obvious reasons are not connected to smoking and tend to be caused by genetic mutations — have fallen significantly as well, declining sixfold since 1950. In the 1960s, for example, only around 10 percent of children diagnosed with acute lymphoblastic leukemia survived more than five years. Today it’s more than 90 percent. And the five-year survival rate for all cancers has risen from 49 percent in the mid-1970s to 69 percent in 2019. We’ve made strikes against the toughest of cancers, like Jon’s multiple myeloma. Around when Jon was diagnosed, the five-year survival rate was just 34 percent. Today it’s as high as 62 percent, and more and more people like Jon are living for decades. “There has been a revolution in cancer survival,” Jon told me. “Some illnesses now have far more successful therapies than others, but the gains are real.”Three cancer revolutions The dramatic bend in the curve of cancer deaths didn’t happen by accident — it’s the compound interest of three revolutions.While anti-smoking policy has been the single biggest lifesaver, other interventions have helped reduce people’s cancer risk. One of the biggest successes is the HPV vaccine. A study last year found that death rates of cervical cancer — which can be caused by HPV infections — in US women ages 20–39 had dropped 62 percent from 2012 to 2021, thanks largely to the spread of the vaccine. Other cancers have been linked to infections, and there is strong research indicating that vaccination can have positive effects on reducing cancer incidence. The next revolution is better and earlier screening. It’s generally true that the earlier cancer is caught, the better the chances of survival, as Jon’s own story shows. According to one study, incidences of late-stage colorectal cancer in Americans over 50 declined by a third between 2000 and 2010 in large part because rates of colonoscopies almost tripled in that same time period. And newer screening methods, often employing AI or using blood-based tests, could make preliminary screening simpler, less invasive and therefore more readily available. If 20th-century screening was about finding physical evidence of something wrong — the lump in the breast — 21st-century screening aims to find cancer before symptoms even arise.Most exciting of all are frontier developments in treating cancer, much of which can be tracked through Jon’s own experience. From drugs like lenalidomide and bortezomib in the 2000s, which helped double median myeloma survival, to the spread of monoclonal antibodies, real breakthroughs in treatments have meaningfully extended people’s lives — not just by months, but years.Perhaps the most promising development is CAR-T therapy, a form of immunotherapy. Rather than attempting to kill the cancer directly, immunotherapies turn a patient’s own T-cells into guided missiles. In a recent study of 97 patients with multiple myeloma, many of whom were facing hospice care, a third of those who received CAR-T therapy had no detectable cancer five years later. It was the kind of result that doctors rarely see. “CAR-T is mind-blowing — very science-fiction futuristic,” Jon told me. He underwent his own course of treatment with it in mid-2023 and writes that the experience, which put his cancer into a remission he’s still in, left him feeling “physically and metaphysically new.”A welcome uncertaintyWhile there are still more battles to be won in the war on cancer, and there are certain areas — like the rising rates of gastrointestinal cancers among younger people — where the story isn’t getting better, the future of cancer treatment is improving. For cancer patients like Jon, that can mean a new challenge — enduring the essential uncertainty that comes with living under a disease that’s controllable but which could always come back. But it sure beats the alternative.“I’ve come to trust so completely in my doctors and in these new developments,” he said. “I try to remain cautiously optimistic that my future will be much like the last 20 years.” And that’s more than he or anyone else could have hoped for nearly 22 years ago. A version of this story originally appeared in the Good News newsletter. Sign up here!See More: Health

ZDNET's key takeaways The Pixel 9 is Google's latest baseline flagship phone, with prices starting at $800. It comes with the new Tensor G4 processor, an updated design, a bigger battery, and a slightly higher asking price. The hardware improvements over last year's model are relatively small. more buying choices At Amazon, the 256GB Google Pixel 9 is on sale for $649, a $250 discount. This deal applies to all color options except Peony (pink).I had a chance to attend the Made by Google event back in August 2024, and after the keynote wrapped up, I was more excited to go hands-on with the baseline version of the Pixel 9 than the Pro or the Pro XL. Why? Because the Pixel 9's accessibility makes it a fascinating device, and one I recommend for a handful of reasons.Also: I changed 10 settings on my Pixel phone to significantly improve the user experienceI'm spoiling this review right at the top, but it's true. Google's latest entry-level flagship, the Pixel 9, is here, with prices starting at $799. Even though its hardware is a minor improvement over the Pixel 8, it's an impressive phone overall. It offers a new design, slightly upgraded performance, slightly better cameras, a slightly bigger battery, and a host of new AI features.Google has positioned the Pixel 9 as the default Android alternative to the iPhone 16, partly because it looks like one. Google gave the entire Pixel 9 family flat sides with rounded corners, which makes it look like something from a design lab in Cupertino. The good news is that it makes these phones look and feel great. details View at Best Buy In fact, they're my favorite-looking Pixel phones yet. The Pixel 9 feels especially unique while still offering a premium feel that's blissfully cold to the touch when you pick it up. The sides are aluminum, while the front and back feature Corning Gorilla Glass Victus 2. The whole thing is IP68-rated for water and dust resistance, and it's just the right size for use with one hand. Max Buondonno/ZDNETAnother characteristic of the Pixel is its nice display, and the Pixel 9 definitely has one. It features a 6.3-inch Actua display that is a tenth of an inch bigger than the Pixel 8. The sharp 2424x1080 resolution, OLED panel, and 120Hz dynamic refresh rate give the Pixel 9 exceptional visuals, whether you're just reading email or watching your favorite movie. This year, the screen can reach way up to 2,700 nits of brightness, making it one of the brightest Android phones you can buy.Also: I replaced my Pixel 9 Pro XL with the 9a for a month - and it was pretty dang closeAlso, its performance feels better. Powered by the new Tensor G4 processor, 12GB of RAM, and 128GB or 256GB of storage, the Pixel 9 is a screamer. It's one of the most responsive Android phones I've used all year, and that's just with the standard version of this phone.The cameras are also impressive. Google kept the same 50MP main camera as last year but swapped the old 12MP ultra-wide for a new 48MP 123-degree camera. Photos are simply stunning on this phone, and Google's post-processing algorithms do a great job of retaining details and contrast. Video quality is also very good, especially with the company's Video Boost technology. This phone can easily rival any device that costs $200+ more. Max Buondonno/ZDNETIf there's a downside to the hardware, it's the inclusion of the lower-quality 10.5MP selfie camera, whereas the Pro phones get a new 42MP camera. There's also an extra telephoto camera on the Pro model, so you won't get the same zoom quality on the regular Pixel 9.Regarding this phone's AI features, Google has jammed quite a bit into the Pixel 9. Not only does it ship with the company's Gemini chatbot out of the box, but thanks to the Tensor G4 processor, it also comes with Gemini Live, so you can have real-life conversations with it.Also: I found a physical keyboard for my Pixel 9 Pro that isn't a jokeIt requires a Google One AI Premium plan, but you'll get one for free if you buy a Pixel 9. I've asked it numerous questions that were similar to web queries ("What's the best place to live near New York City that's relatively affordable," "How many stars are in the sky -- wait, in the galaxy?") and it answered them all with ease -- even with speech interruptions. It's in the early stages, but it's exciting technology that could change how we use our phones.You also get features like Add Me, which allows you to take a picture of your friends, then have them take a picture of you in the same place, and merge the two so no one's left out. I've played around with it during my testing, which worked surprisingly well. There are also some nice updates to Magic Editor for framing your photos. Max Buondonno/ZDNETGoogle also included two new AI-powered apps on the Pixel 9 series: Pixel Screenshots and Pixel Studio. With the former, you can organize your screenshots and search through them with AI prompts, allowing you to easily reference information like Wi-Fi passwords or recipes. Meanwhile, the latter lets you generate images on the fly and customize them with text, stickers, and other effects. I've enjoyed using both apps in my limited testing time, but I'll need to play with them over the long run to see whether they're worth it.Also: The best Google Pixel phones to buy in 2025I found battery life to be quite good. There's a 4,700mAh cell inside that can last all day on a charge and then some, which means you won't need to worry about this phone's battery after a long day. Google includes 45W charging support on the Pixel 9 series, which is awesome, but you'll need to buy a separate wall adapter to take advantage of it. In addition, there's 15W wireless charging (not Qi2, notably) and 5W reverse wireless charging called "Battery Share."ZDNET's buying adviceIf your budget is $800, it's hard not to recommend Google's Pixel 9, especially while it's on sale at $250 off. Sure, the Samsung Galaxy S24 is a tough competitor, but I actually think this is the better buy. It gives you access to some useful new AI features, and you get all the perks of the Pixel experience, like excellent software, display quality, and cameras. The Pixel 9 Pro and Pixel 9 Pro XL models may be flashier, but the baseline version of Google's flagship phone should not be overlooked. This article was originally published on August 22, 2024, and was updated on June 6, 2025 What are the tariffs in the US? The recent US tariffs on imports from countries like China, Vietnam, and India aim to boost domestic manufacturing but are likely to drive up prices on consumer electronics. Products like smartphones, laptops, and TVs may become more expensive as companies rethink global supply chains and weigh the cost of shifting production.Smartphones are among the most affected by the new US tariffs, with devices imported from China and Vietnam facing steep duties that could raise retail prices by 20% or more. Brands like Apple and Google, which rely heavily on Asian manufacturing, may either pass these costs on to consumers or absorb them at the expense of profit margins. The tariffs could also lead to delays in product launches or shifts in where and how phones are made, forcing companies to diversify production to countries with more favorable trade conditions. Show more Featured reviews

GKIDS has acquired the North American distribution rights for Shin Godzilla, which hits theaters on August 14, with a home entertainment release to follow. The 4K remaster will feature the original Japanese voice cast with English subtitles, including restored text cards. In the film, something has surfaced in Tokyo Bay. As the Prime Minister of Japan pleads with the public to remain calm, a horrific creature of tremendous size makes landfall in the city, leaving death and destruction in its wake. Then it evolves. Originally released in Japan in 2016, Shin Godzilla is directed by Hideaki Anno (Neon Genesis Evangelion) and Shinji Higuchi (Shin Ultraman), with a screenplay by Anno and VFX by Higuchi. Shin Godzilla won seven Japan Academy Prize awards and was the highest-grossing Japanese-produced Godzilla film prior to 2023’s Godzilla Minus One. Check out the teaser trailer now: Journalist, antique shop owner, aspiring gemologist—L'Wren brings a diverse perspective to animation, where every frame reflects her varied passions.

WWDC 2025, Apple’s annual developers conference, starts at 10 a.m. PT / 1 p.m. ET. Monday. Last year’s event was notable for its focus on AI, and this year, there is considerable pressure on the company to build on its promises, and to change the narrative after months of largely negative headlines. As in previous years, the company will focus on software updates and new technologies, including the next version of iOS, which is rumored to have the most significant design changes since the introduction of iOS 7. But iOS 19 (or 26, if other rumors about the new naming system are true) isn’t the only thing the company will announce at WWDC 2025. Here’s how you can watch the keynote livestream. iOS is getting the most dramatic design change in over a decade When Apple introduced a major overhaul to iOS back in 2013 with the launch of iOS 7, it felt jarring for many users with the shift from the prior skeuomorphic design with gradients and real-world textures to the more colorful, but flat, design style that reflected Apple’s then chief design officer Jony Ive’s taste for minimalism. Now, new reports suggest that an upcoming redesign could provoke a similar level of reaction. Reports suggest the new design may have elements referencing visionOS, the software powering Apple’s spatial computing headset, the Apple Vision Pro. If true, that means the new OS could feature a transparent interface and more circular app icons that break away from the traditional square format today. This visual redesign could be implemented across all of Apple’s ecosystem (including even CarPlay), according to Bloomberg, providing a more seamless experience for consumers moving between their different devices. Techcrunch event Save $200+ on your TechCrunch All Stage pass Build smarter. Scale faster. Connect deeper. Join visionaries from Precursor Ventures, NEA, Index Ventures, Underscore VC, and beyond for a day packed with strategies, workshops, and meaningful connections. Save $200+ on your TechCrunch All Stage pass Build smarter. Scale faster. Connect deeper. Join visionaries from Precursor Ventures, NEA, Index Ventures, Underscore VC, and beyond for a day packed with strategies, workshops, and meaningful connections. Boston, MA | July 15 REGISTER NOW iOS will change its naming system According to Bloomberg, Apple will announce a change in the naming system for iOS at this year’s WWDC. Instead of announcing the next version of iOS as iOS 19, Apple’s operating systems will shift to being named by year. That means we could be set to see the launch of iOS 26 instead, alongside the OSes for other products, including adOS 26, macOS 26, watchOS 26, tvOS 26, and visionOS 26. Apple may keep the AI news light this year While it might be challenging to top the news related to Apple Intelligence at WWDC 2024, the company is expected to share a few updates on the AI front. The company has seemingly been caught flat-footed in the AI race, making announcements about AI capabilities that had yet to ship, leading even some Apple pundits to accuse the company of touting vaporware. While Apple has launched several AI tools like Image Playground, Genmoji, Writing Tools, Photos Clean Up, and more, its promise of an improved Siri, personalized to the end user and able to take action across your apps, has been delayed. Meanwhile, Apple has turned to outside companies like OpenAI to give its iPhone a boost in terms of its AI capabilities. At WWDC, it may announce support for other AI chatbots, as well. With Jony Ive now working with Sam Altman on an AI hardware device, Apple is under pressure to catch up on AI progress. Image Credits:Nikolas Kokovlis/NurPhoto / Getty Images In addition, reports suggest that Apple’s Health app could soon incorporate AI technology, which could include a health chatbot and generative AI insights that provide personalized health-related suggestions based on user data. Additionally, other apps, such as Messages, may receive enhancements with AI capabilities, including a translation feature and polls that offer AI-generated suggestions, per 9to5Mac. Apple will likely make the most of a number of smaller OS updates that involve AI, given its underwhelming progress. Reports suggest that these updates could include AI-powered battery management features and an AI-powered Shortcuts app, for instance. iPhone users may get a dedicated gaming app Bloomberg confirmed a 9to5Mac report that said Apple is developing a dedicated gaming app that will replace the aging Game Center app. The app could include access to Apple Arcade’s subscription-based game store, plus other gaming features like leaderboards, recommendations, and ways to challenge your friends. It could also integrate with iMessage or FaceTime for remote gaming. Image Credits:Gabby Jones/Bloomberg / Getty Images Updates to Mac, Watch, TV, and more Along with the new design, reports suggest that Apple’s other operating systems will get some polish, too. For instance, macOS may also see the new gaming app and benefit from the new AirPods features. It’s also expected to be named macOS Tahoe, in keeping with Apple’s naming convention that references California landmarks. Apple TV may get a visual overhaul, but also changes to its user interface, the new gaming app, and other features. AirPods to get new features In addition to Messages getting a translation feature, Bloomberg reported that Apple could also bring a live-translate language feature to its AirPods wireless Bluetooth earbuds, allowing real-time translation during conversations. The iPhone will translate spoken words from another language for the user and will also translate the user’s response back into that language. A new report from 9to5Mac also suggests that AirPods may get new head gestures to complement today’s ability to either nod or shake your head to respond to incoming calls or messages. Plus, AirPods may get features to auto-pause music after you fall asleep, a way to trigger the camera via Camera Control with a touch, a studio-quality mic mode, and an improved pairing experience in shared AirPods. Image Credits:Darrell Etherington Apple Pencil upgrade According to reports, the Apple Pencil is also receiving a new update, one that will benefit users who wish to write in Arabic script. In an effort to cater to customers in UAE, Saudi Arabia, and India, Apple is reportedly launching a new virtual calligraphy feature in iPadOS 19. The company may also introduce a bi-directional keyboard so users can switch between Arabic and English on iPhones and iPads. No hardware announcements? There haven’t been any rumors regarding new devices, because no hardware is ready for release yet, according to Bloomberg. Although it’s always possible that the company will surprise us with a new Mac Pro announcement, most reports are saying this is highly unlikely at this point. Some reports indicate that Apple may also announce support for a new input device for its Vision Pro: spatial controllers. The devices would be motion-aware and designed with interaction in a 3D environment in mind, 9to5Mac says. In addition, Vision Pro could get eye-scrolling support, enabling users to scroll through documents on both native and third-party apps. Bloomberg had reported in November that Apple was expected to announce a smart home tablet in March 2025, featuring a 6-inch touchscreen and voice-activated controls. The device was said to include support for Home Control, Siri, and video calls, but has yet to launch. Following the discovery of a filing for “HomeOS” by PMC’s Parker Ortolani, speculation has arisen that Apple may unveil the software for the device at WWDC.

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).

Welcome to Indie App Spotlight. This is a weekly 9to5Mac series where we showcase the latest apps in the indie app world. If you’re a developer and would like your app featured, get in contact. Have you ever wanted a medicine tracker that keeps you motivated, is interactive, and fun to use? Pill Buddy is the answer for you. Designed by a former Duolingo Product Manager, Pill Buddy truly encapsulates everything engaging and applies it to yet another pesky chore: medicine. Top features Pill Buddy has all of the basic features you’d expect in a medicine tracking app. You can log your medicines, receive reminders, and keep track of everything from convenient home screen widgets. Pill Buddy actually takes reminders a step further, and has an option to give you an actual phone call when you need it. Beyond the basics, Pill Buddy has a number of features to keep you hooked. For one, you have a personal mascot in the app. When you keep on track with your doses, you earn stars (which can be used to buy items to personalize your mascot). When you miss a dose (or continually do so), your mascot will look sad. If you stay on top of things though, you’ll build a streak – all while continuing to earn stars for your mascot. It’s meant to feel personal, motivating, and fun. Pill Buddy also lets you customize your schedule for each medicine while you’re setting it up, so the app adopts to your needs. Pill Buddy is available for free on the App Store for iPhones running iOS 18.1 or later. It’s also available on macOS and visionOS as an iOS app. The app has no ads. The developer, Kai, left his full time job at Duolingo to pursue indie development as a full-time gig – so if this app is something you’ve been looking for, give it a go! You can also check out the apps website here. My favorite Apple accessory recommendations: Follow Michael: X/Twitter, Bluesky, Instagram Add 9to5Mac to your Google News feed.  FTC: We use income earning auto affiliate links. More.You’re reading 9to5Mac — experts who break news about Apple and its surrounding ecosystem, day after day. Be sure to check out our homepage for all the latest news, and follow 9to5Mac on Twitter, Facebook, and LinkedIn to stay in the loop. Don’t know where to start? Check out our exclusive stories, reviews, how-tos, and subscribe to our YouTube channel

It's time we settle an age-old debate: Where should your living room television *actually* go? There's no hard-and-fast rule, but designers have opinions on the best way to keep your family entertaining space functional and stylish. And sometimes, those opinions isn't always based on aesthetics! "I don't always want to fight the 'TV over the fireplace' battle," admits designer Annie Downing. So, where should it go? Below, I dive into designers' best stylish solutions. Related StoriesGo Over the MantelSometimes, the path of least resistance is ultimately the correct one, and all of the designers I spoke to had no real issue with putting a television over the fireplace or mantel. "As long as the design is intentional and well-executed regarding the placement, I think we live in a time where we have to embrace the technology," says designer Amanda Lantz. Just be sure that the technology you're embracing is primed for a little designer upgrade. "The TV doesn't have to be a giant black box," says Annie, who recommends homeowners opt for sleeker options, such as Samsung's Frame TV, which can be easily integrated. "It’s not about hiding it completely," she says, "it’s about treating it like a design element instead of an afterthought." To give the TV a more intentional feel, Annie recommends pairing a frame television with custom or pre-fabricated trim packages. A simple tile surround also works if you want a more integrated look. Hide It—But Do It CleverlyIf mounting a television over your fireplace is an absolute no-go for you, either because you hate the way it looks or because the angle or height of the television makes viewing uncomfortable, there are still plenty of places to put or hide it. Tuck Into An Adjacent Book CaseEarlier this year, I visited a home where the fireplace was flanked on either side by built-in shelving that spanned the length of the wall. Instead of placing the television over the (admittedly too-high) mantel, the owners tucked it neatly into the right side of the bookcase, surrounding it with books and other collected objet. This approach, which works well in living rooms with vaulted ceilings, easily fosters a cozy, gather-round atmosphere. Pair It With Greenery Stacy Zarin GoldbergThis cabin makes expert use of freshly foraged greens. Try camouflaging your television—literally. Fresh, seasonal greens go a long way in adding visual intrigue and casual, lived-in charm. Choose fluffy, loose flowers or greenery to balance the structured, technical feel of the television. Cover It With ArtIn designer Christina Salway's Brooklyn home, the television is hidden by a large painting hung on cleats. "When we watch TV, we take the painting down, and when we’re finished, we put it back up," she says. "This is probably unimaginable to most people, but I hated the prospect of having a television so visibly positioned in our living room." It's best to avoid art with high sentimental value or that is irreplaceable if you go this route. Instead, opt for inexpensive vintage art or a print that you don't mind handling regularly. Related StoryHide It With MillworkMy personal favorite way to hide a television in a living room involves a clever bit of carpentry. I first came across this idea while admiring (read: drooling over) @MyMulberryHouse on Instagram. In her post, homeowner Leah Lane walks her followers through the process of building a concertina TV screen fabricated with piano hinges—which are key to its seamless, lie-flat appearance. The screen is cleverly disguised as a set of antique botanical prints. If you're willing to put a little extra elbow grease and manpower behind hiding your television, this is a stunning, design-editor-approved method.Related StoriesAnna LoganSenior Homes & Style EditorAnna Logan is the Senior Homes & Style Editor at Country Living, where she has been covering all things home design, including sharing exclusive looks at beautifully designed country kitchens, producing home features, writing everything from timely trend reports on the latest viral aesthetic to expert-driven explainers on must-read topics, and rounding up pretty much everything you’ve ever wanted to know about paint, since 2021. Anna has spent the last seven years covering every aspect of the design industry, previously having written for Traditional Home, One Kings Lane, House Beautiful, and Frederic. She holds a degree in journalism from the University of Georgia. When she’s not working, Anna can either be found digging around her flower garden or through the dusty shelves of an antique shop. Follow her adventures, or, more importantly, those of her three-year-old Maltese and official Country Living Pet Lab tester, Teddy, on Instagram.  

Most of what you need to know about the Nintendo Switch 2 is right there in the name: this is the direct sequel to the Switch. It’s bigger, more powerful, more refined, and builds on a strong foundation. If you liked the first Switch, you’re almost certainly going to like the Switch 2. But whether it’s worth upgrading immediately is going to depend a lot on your current gaming library and how much you’re willing to spend for a small library of first party titles.  The Hardware From an ergonomic perspective, the Switch 2 is a definite upgrade over the original with a nicer looking, rounded off cradle, a bigger screen, and new magnetically attached Joy-cons that are a breeze to connect and remove. Also a really underrated new feature is the more flexible kickstand, which lets you play the Switch 2 from multiple angles if you’re into that sort of thing. While it didn’t really get much coverage in previews, I was also pleasantly surprised by a sturdier cover for game cards that will better lock them into place. That’s not hugely important, but it does show how much thought Nintendo put into the system to address almost every criticism of the original Switch, which was a pretty great portable to begin with. Furthermore, the sound quality of the Switch 2 in portable mode is surprisingly better than the old model. Oddly enough though, as good as the sound is, the HDR implementation is surprisingly underwhelming in this initial batch of games. That’s really not a huge deal, but it’s odd that Nintendo even pushed it at all given how barely noticeable it is right now. Maybe future games (or a future Switch 2 refresh) will improve on it. My only real gripe about the Switch 2 is that it’s maybe too big. I’m a six-foot and two inches, 270 pound professional wrestler in my spare time, and this thing is almost too big for my hands. It starts to feel a little heavy after an hour of playtime. At least the battery life is rock solid, however, which has always been a strong point of Nintendo portables, though the console does run noticeably warmer than its predecessor.  Set Up and the Switch 2 Experience Getting started with the Switch 2 is simple, although not without a bit of the typical Nintendo weirdness. By logging into my Wi-Fi and My Nintendo account, I transferred everything from my original Switch to the Switch 2 in a little over 10 minutes. All I had to do was plug in both consoles and move them within a few feet of each other. The one downside of this is that the Switch 2 then immediately decided to start downloading a few dozen of the most recent games I’ve played. That’s good in theory, but since the Switch 2 only comes with 256GB of internal storage, I didn’t want all those old games on my new console. If there’s an easier way than going through the game library and canceling all of those individual downloads, I couldn’t find it. Still, this made clear just how much space is going to be an issue with the new console. After downloading updates and just a handful of my older titles, I was down to only 175GB of space. When some launch titles are already clocking in at 60 gigs, it’s clear that a MicroSD Express card is going to be a necessity for a lot of gamers. Given the price of those, I do wish the Switch 2 had a port for older SD cards that could play original Switch games, or allowed for a hard drive in docked mode. Maybe that’s something we’ll see in an update down the line. Anyway, once I had downloaded what I wanted and canceled everything else, it was time to dive into the Switch 2 dashboard… which actually looks a lot like the original Switch’s. All of the icons are rounder, just like the cradle and system itself. The eShop doesn’t slow down anymore, and everything else is pretty much where it was on the first Switch. If you ever upgraded from an Xbox One to an Xbox Series X, it’s a similar type of negligible change.   What’s New with the Switch 2 Unlike some past Nintendo consoles like the Wii, the Switch 2 doesn’t have any major new gimmicks, but there are a couple of interesting new features. The upgraded Joy-Cons can now be used like computer mice. There’s also GameChat, a new way to communicate with other players during gameplay through video and audio. Join our mailing list Get the best of Den of Geek delivered right to your inbox! Honestly, I didn’t spend a lot of time with either of these features. They work as advertised, they’re just not exactly revolutionary, especially given that Microsoft and Sony have allowed this type of communication while gaming for years. There’s definitely promise to these ideas down the line, but they’re not exactly day one system sellers. It’s probably 50-50 whether we see games that take advantage of these features, or if developers just ignore them entirely. Switch 2 Games, Old and New The Switch 2 is launching with an impressive collection of more than two dozen games. Many like Street Fighter 6, Hogwarts Legacy, and Hitman are ports of games that have been available elsewhere for awhile now. I picked up Mario Kart World, Bravely Default HD, and Cyberpunk 2077. I’ll have fuller thoughts on Mario Kart World in a few days, but for now I’ll say it’s a very fun game that doesn’t necessarily do a whole lot to show off its console’s power. The other two games are excellent ports of older titles, with Cyberpunk 2077 in particular offering some enjoyable new control options thanks to the upgraded Joy-Cons. What’s especially impressive at launch are the upgrades to The Legend of Zelda: Breath of the Wild and Tears of the Kingdom. Available for $10 each, or as part of an annual Nintendo Switch Online + Expansion Pack membership. These almost look like brand new games with higher resolution and frame rates that now put them on par with a lot of the best looking games on Xbox or PlayStation.  Even in handheld mode, the Zelda titles look noticeably better than on the original Switch. The free upgrades I checked out in New Super Mario Bros. U, Super Mario Odyssey, and Super Mario 3D World + Bowser’s Fury don’t go quite that far in terms of improvements, but the games definitely do perform better. It was actually kind of rough going back to Switch games like Splatoon 3 and Xenoblade Chronicles X that don’t have enhancements of any kind, and still having to deal with their little graphical hiccups on the Switch 2. But I didn’t notice any issues with backwards compatibility. Original Switch games seem to play flawlessly on the new console. Another reason to check out the Switch 2 is GameCube games for Expansion Pack members. I played a few minutes each of The Legend of Zelda: The Wind Waker, F-Zero GX, and SoulCalibur II and I’m pleased to report that they all performed admirably. Whatever emulator Nintendo is using doesn’t make these games look like full-on remasters, but they do look very sharp on a 4K TV, and I’m excited to see what other classic titles get added in the future. Is the Switch 2 Worth Buying? Whether you should pick up a Switch 2 right now (if you can even find one) really depends. If you always wanted a Switch but for some reason never got one, a Switch 2 is an absolute no brainer. It’s going to be the best way to experience some Switch classics like Breath of the Wild and Super Mario Odyssey. If you haven’t had any other way to play great games like Cyberpunk 2077, Yakuza 0, or Hogwarts Legacy, then yes, the Switch 2 is an excellent purchase, and it’s cheaper than either a PlayStation 5 or Xbox Series X.But if you’ve played your original Switch to death and have any other current gen console, a solid gaming PC, or a Steam Deck, the Switch 2 is a dicier proposition. Some great looking games like Donkey Kong Bananza, Metroid Prime 4, and Hyrule Warriors: Age of Imprisonment are on the horizon, and I have no doubt the Switch 2 will be worth the purchase over time, but $450 and up is a lot to ask for what the console offers at the moment.