More and more car manufacturers these days are becoming interested in the recurring revenue model, with Volkswagen’s ID.3 BEV being the latest to have an optional ‘motor power upgrade’ that …read more

Are we on the cusp of truly affordable Teslas? A YouTuber flew a drone over Tesla's Fremont test track and saw what may be its new cheap model racing around it.As spotted by Teslarati, new flyover footage from an account that calls itself "Met God in Wildnerness" — which along with frequent Fremont flyovers also publishes what appear to be Christian missives in Chinese — there's a good chance that the disguised vehicle could be a prototype for Tesla's purported affordable model."A disguised Tesla car testing on test track," the video's caption reads. "We could be seeing the new low cost model."Though the blog describes the vehicle as resembling a "compact Model Y," the black-and-white machine looks to our eyes like an elongated Volkswagen Beetle. In the video, it's seen stopping and going on the track, which is located off to the side of Tesla's manufacturing plant in Fremont, California, followed by a disguised Cybertruck.In its writeup, Teslarati notes that although there's a possibility the car is the new performance version of the Model Y, its compact size suggests it could be a prototype for the long-teased affordable model.As InsideEVs pinpointed back in April, Tesla admitted in its abysmal first-quarter earnings report for 2025 that switching over production lines to make room for the new Performance Model Y, which resulted in "several weeks of lost production" on the upgrade, was also paramount as it seeks to produce cheaper versions of its cars."During the switchover, we also prepared our factories for the launch of new models later this year," the report's fine print read. "Given economic uncertainty resulting from changing trade policy, more affordable options are as critical as ever."When discussing that earnings report in an investor call, CFO Vaibhav Taneja said that production of the cheaper model — which may utilize design aspects of Model 3 and Model Y — is "planned for June."As with most of the company's timelines, we're taking that one with several grains of salt — especially because CEO Elon Musk was mocking the idea of a $25,000 Tesla, which he'd been promised for years, less than a year ago.Right now, we don't know any specifics about what will constitute an "affordable" Tesla or when it will hit production lines or dealerships — but that flyover video could be our first glimpse of what's to come.More on Tesla: Tesla Can't Find Legal Places to Store All Its Unsold CybertrucksShare This Article

According to Bloomberg, the next versions of Apple’s operating systems may be labeled by year, starting now. It makes sense. At this point, we’ve got VisionOS 2, watchOS 11, macOS 15, iOS 18 and iPadOS 18. Instead, they might all be tagged 26 — even if they launch this year. It’s not the first tech company to align new products with the year of release. Samsung started naming its phones by year of release in 2020 with the S20, which followed the S10. We’ll learn for sure in under two weeks: WWDC kicks off June 9. — Mat Smith Get Engadget's newsletter delivered direct to your inbox. Subscribe right here! The news you might have missed Fujifilm GFX100RF review: A powerful, fun camera that’s far from perfect Can you still buy a Switch 2 on launch day? Maybe Weber Smoque review: A simplified smart grill that’s still a workhorse Video Games Weekly: Grand Theft Auto is no friend to the queer community Volkswagen ID.Buzz review: A head-turning EV microbus with unfortunate flaws PlayStation’s DualSense Edge wireless controller is cheaper than ever Sony is discounting consoles, accessories, games and subscriptions. Engadget One of the standout deals of this year’s Days of Play sale is the PS5 DualSense Edge controller. You can pick one up for $169, which is 15 percent off its usual price. The deal is available on Amazon and directly from Sony. The Edge resembles a regular DualSense controller, but there’s a lot more to it. For instance, there are function buttons below each thumbstick and rear paddles, and you can choose between a set of levers or shorter half-domes. If you haven’t jumped on the PS5 yet, the PS5 Pro also gets a $50 discount. Continue reading. The new Opera browser can surf the web for you It’s not Chrome, Safari or Edge, but if you’re willing to be different… Opera has launched another… Opera browser. Neon is its first fully agentic browser. That means it’s baked in AI chat with users and can surf the web on their behalf.  It… clicks for you. It can even fill out forms and shop for you. If you’re feeling more ambitious, you can ask Neon to build websites, animations, even games, and it can continue chipping away at big projects while you’re offline. Will that all be enough to swing you away from all your Chrome plugins or Safari passwords? According to recent figures, just over 2 percent of internet users use Opera. You can try it for yourself now. Oh wait, no, there’s a waitlist. Continue reading. This gaming mouse has a tiny fan inside For the pro gamers. Pulsar Pulsar’s latest competitive gaming mouse features a premium tiny fan from Noctua, the renowned fan brand. (Apparently, no one makes fans quite like the Austrians). With a skeletal shell designed to enhance airflow, it’s for sweaty-palmed professional gamers. Like the original Feinmann mouse from Pulsar, it has a 32,00 DPI sensor and an ultra-fast 8,000 Hz polling rate. Due to the fan, it’s a little heavier than the original at 65 grams. And the price of dry palm calm? $180. Continue reading.This article originally appeared on Engadget at https://www.engadget.com/general/the-morning-after-engadget-newsletter-121525453.html?src=rss

Lyse Martel is a Berlin-based “Color, Materials, and Finish” (CMF) designer and strategist in the mobility and consumer electronics industries. Her work combines craftsmanship and emerging technology to shape design strategy, drive material innovation, and create new sensory experiences. Lyse is fascinated by design’s power to shape how people feel and act. She believes design can foster emotional connection and wellbeing at a time when AI and automation are making their way into many new consumer product experiences, from the car to the living room. Below, Martel explores the emotional dimension of circular design and how the CMF field is evolving to meet the global challenges of circularity and sustainability. Fast Company: Please introduce yourself to our readers.Lyse MartelLyse Martel: I’m Lyse Martel, a CMF designer and design strategist, working primarily in automotive and consumer electronics. CMF, which stands for Color, Materials, and Finish, is about how a product looks, feels, and connects emotionally. So my work focuses on those elements as well as on strategy, brand identity, and sustainability. Although I mainly work in automotive and consumer electronics, CMF can apply to many different areas. Over the years I’ve worked with brands like Bang & Olufsen, Hopium, and NIO. And most recently I was directing a circular design project at Volkswagen Group—designing for circularity from the start with a large team of designers from different disciplines. How did you find your way into this field? It was step by step. My love for design was always there, even before I knew what to call it. It was shaped by my family’s craftsmanship, as well as my own curiosity for shapes, textures, colors, and sensory experiences. On my father’s side, I grew up around a lot of woodworking and carpentry. And on my mother’s side are generations of tailors. So that gave me an appreciation for textiles and textures and detailing and crafts. And I’ve always loved illustration and drawing and building small architectures with natural elements—everything that could involve materials and aesthetics. And I think that brought me to materiality and storytelling and eventually to CMF design. Were you able to find an educational path that encouraged your interests? I went to a specialized high school for applied arts and design, where I grew immensely as a creative person, and had a teacher who supported me and saw my potential with conceptual thinking. At university another teacher encouraged me to apply to a design internship in the automotive sector in Paris, and that’s how I formally entered the CMF design field. I was immediately drawn to the innovation and complexity of using material and color to shape the brand identity for a mobility project. [Photo: Lyse Martel]How do you stay on top of trends in color and material?Much of it is intuitive, but we also learn to connect the dots and see trends. I’m very much inspired by psychology and by what’s going on in the world—anything that could possibly impact human experiences and emotions. I’m paying attention to developments in architecture, interiors, digital and physical design, and material innovation. I’m also looking at global trends that have nothing to do with the design industry, including culture and the natural world. Nature plays a big role because you can look at how light interacts, how materials evolve with time, the functioning of ecosystems, and agriculture. I’m also very interested in how CMF design intersects with concepts like wellbeing and happiness, so I follow influential practitioners like Ivy Ross from Google, and Susan Magsamen, who works on neuroaesthetics, and Carol Gilligan, the psychologist and philosopher. Could you share more about neuroaesthetics? Neuroaesthetics looks at how design makes people feel: how beauty and art and design influence our brain, and how things like color, textures, light, and sound make us react cognitively or emotionally. We know that certain visual experiences will calm or excite us, while others make us feel uncomfortable. Designers can leverage those insights to create more meaningful and intuitive interactions. I’ve always been fascinated by how design makes people feel, and neuroaesthetics gives us the scientific reasoning behind those ideas. For instance, when I’m working with color and material for a car interior, I can decide to craft a more calming atmosphere with natural materials, or use soft lighting or a color gradient that can guide the user’s eye. I can think about how textures and tactility will influence the user’s feeling of comfort, or their perception of product quality or durability. When it comes to sustainability, there are a lot of materials that may not be readily acceptable to a user. In that case it can be helpful to lean into the authenticity of that material, perhaps by making it warmer or softer, or relating it to nature through colors or grain. So if we can somehow elevate or upscale the experience with that material, then we can start to shift the mindset to embrace sustainable materials or choices. Earlier you mentioned your work in circular design. Could you share more about that? Circular design is rethinking how we create and use products. It means designing for longevity, adaptability, and regeneration. We seek out the right materials, we design for easy reuse and repair, and we try to ensure that the product stays in circulation for as long as possible. Longevity is the number one criteria, because the longer you use a product, the less impact it has in terms of greenhouse gas emissions and other waste metrics. With circularity do you encounter pushback from industries that simply need consumers to keep buying more stuff? It does clash with short-term profit models, so it’s not easy for businesses to embrace it completely. But there is momentum for circular design, which is driven by consumer expectations, tighter regulations, and a growing recognition that resource efficiency is also smart business. I’ve seen mobility and consumer electronics firms try out concepts like modularity, repairability, and designing with disassembly in mind. Neuroaesthetics seems to be a strategy for tapping into people’s innate preferences for certain colors, materials, and finishes. But could also instigate behavior change, by tapping into the emotional layer of circularity? Absolutely, it can be surprisingly comforting, even if the materials are unexpected. When designing a circular product, you’re often working with waste, like a polymer that’s meant to circulate between cars. The challenge is making that material feel good, both emotionally and physically. What works is embracing the material’s character, maybe it has a soft texture or a slight irregularity, like a grain or uneven thread. Or it comes in a natural color that feels ultra-fresh. These little details shift the focus from what it is to how it makes you feel. You might not even realize it’s recycled plastic, but it just feels right. Sometimes, a car interior can feel like a cozy cabin, all because of the right textures and tones. That emotional layer is what really connects circularity.How could neuroaesthetics help make people comfortable with something new, like self-driving cars? It’s really about how shapes, colors and textures support the digital experience; all the micro-details working together to help the user feel at ease. I’ve been testing self-driving vehicles recently, and it’s surprising how much the environment impacts your reaction. In one case, the layout was minimal, with just the right number of buttons, and that simplicity helped me relax. But I also tested a car that was entirely gray, and it felt dull and dated. Light tones or soft gradients, something that evokes a sunrise or sunset, can go a long way in making the space feel more inviting.With automation, trust becomes a key part of the brief. How easily will someone understand what’s happening? Are they okay letting go of the wheel? That’s where CMF design needs to be fully integrated. I have to work closely with the interior and UX designers so that everything speaks the same language. If I propose a soft, natural palette and the shapes are cold or aggressive, it creates a disconnect.[AI Image: courtesy Lyse Martel]Can you share how you use AI in your work, or how AI factors into the CMF design process? It’s part of my creative process in that it helps me visualize materials, colors, and sensory experiences I’m considering for a project. It’s a great way to communicate an idea visually, and also to put it out there so someone else can pick it up and build on it. So for me, it’s really a tool that helps us be more precise in how we express and share ideas.There are also really promising use cases in circular design, where AI can help us map local resources and integrate them more intelligently into products. For example, there’s a lot of bamboo in China, linen in the north of France, or paper waste around Berlin. So what can we do with that knowledge? We can see where materials are available, but also think about how to reduce waste, predict life cycles, or imagine new reuse scenarios. Anything that involves localizing or optimizing can be supported by AI.And as the digital world increasingly shapes the physical one, I think there’s real potential in using these new, hyper-sensory AI-generated visuals to inspire physical experiences. Neuroaesthetics helps us design for emotion, and AI can help translate those emotional cues into visual concepts that, when made real, feel meaningful and multi-sensory. Do you ever get any pushback for the decisions that you or your team might make as CMF designers? Sometimes there’s a strong reaction to a particular color or material choice. I remember working on a concept car called Eve, developed with a strong focus on emerging markets and innovative design languages. I proposed an exterior in a rose gold tone, which could be read as pink. That sparked some discomfort in the room. I think it challenged certain expectations of what a car should look like, especially in Western automotive culture. But in China, rose gold is often associated with refinement and quality. It’s not seen as gendered in the same way. So for me, it was an opportunity to bring a fresh, culturally relevant aesthetic into the project. I understood the hesitation, but that’s part of the role. Sometimes CMF invites us to gently shift the visual language and open up new emotional possibilities.[Image: Felix Godard Design]Are there certain colors and finishes that are timeless and others that are more transitory? In the last decade we used a lot of neutrals, like beige and gray. Many brands also decided to shape themselves around their core colors—“our black,” “our white,” etc. And they would build up from there to include more exciting colors into their identity. Today I see those approaches being challenged. Gen Z is coming in and they have other ideas about what’s fresh. In the past few years we saw a lot of yellows. Recently, dark reds have been popping up everywhere, and they’re a powerful, timeless choice that adds richness and sophistication. These colors grab attention and can work well, but we need to be mindful of their relevance for long-term products.I believe there is still a need for that core timelessness. You might use black as a core color, but you might tint it blue to make it more interesting or less intense. When I was at Bang & Olufsen, we often discussed how to stand out from typical black consumer electronics. For a more lifestyle-oriented, subtle design in the home, why not use gray?[Image: courtesy NIO]Are you ever surprised when a particular color takes off? The latest Pantone color of the year is a brown-beige shade, which honestly surprised me. I’ve used warm grays before when I wanted to give a product a cozier, inviting feel, but this one doesn’t feel as fresh to me. I’m not sure it resonates with the moment in the same way other trends do. I love when a heritage brand takes an unexpected turn, like the paper company GF Smith, which recently rebranded with vibrant, poppy colors and introduced a bespoke, rounded sans-serif typeface, GF Smith Homie. I like to see they are brushing off the history to embrace different values and just be human. They want to stand for inclusivity, so they’re going to speak up about that and make sure it’s seen in the brand.Where do you draw creative inspiration? It’s really what makes me burn, what is calling my heart. I also need to talk to people—not only creatives, but people from all walks of life. I enjoy traveling through my city and looking at how people live. I learn a lot simply from riding the train, overhearing conversations, and observing how the mood changes with the seasons. I also read the news and check out certain magazines. There’s one I like, Imagine5, that focuses on how to make sustainability joyful. It explores that from all angles and it’s very accessible. You don’t have to be a sustainability expert to enjoy it. [Image: courtesy NIO]Could you share some of the projects you’ve worked on that you’re most proud of? I joined the global smart EV brand NIO in its early stages, when the brand vision was still taking shape, and contributed to the initial direction of color, materials, and finishes as part of the design team. The objective was to align with their vision of “Blue Sky Coming,” so we had to come up with progressive aesthetics and human-centered design, which later evolved into design principles. Shaping that brand was extremely rich for me in terms of learning and collaborating with so many talented designers. I also led a couple of projects – one was the previously mentioned concept car called Eve. I had the opportunity to introduce more natural materials and different colors that were not commonly used in the automotive space.Introducing new aesthetics became an important theme for my later work with Bang & Olufsen, which was about connecting the dots between sound and material and design. And then more recently, the circularity project I’ve been leading for Volkswagen Group is really close to my heart. The brief was to introduce longevity, adaptability, and recyclability across all design touch points for Volkswagen. To that end we provided creative direction that considered everything from exterior design, interior, user experience, and materiality.It was an interesting challenge to find the emotional layer of circularity, while staying on brand for Volkswagen. Circularity has a lot of very technical aspects, but as designers we can make circularity tangible. How do you deal with mistakes or failure in the creative process? I view mistakes or failure as an opportunity to test more, to rethink, and to reframe. If a design doesn’t work, how can we regroup and find a solution that’s way more interesting and beyond the obvious? In the creative process there can be a lot of fear associated with going against the grain. What I’ve noticed is that if we stay in that fear space, we close ourselves off to opportunities. It’s important to be in an open space of creativity and curiosity. Allow mistakes and failure to happen. When there is joy in the process and a strong intuition, you produce better results in the end. What advice would you give to aspiring designers, but also anyone who wants to enter the world you inhabit? Great design comes from a constantly growing and inspired mind. Stay curious and know that inspiration comes from everywhere. Embrace your uniqueness, but also be able to evolve from that. Be open to change and to new perspectives. There will be tough feedback and creative disagreements, but the important thing is how you receive those situations. Maintain a mindset of abundance and try to see the positive in anything you do. Finally, as creatives it’s important for us to take time alone to recharge, to reflect, and to work on our magic. When you’re feeling well and thriving individually, your creativity also does. At that point it’s crucial to rejoin the collective, where you have a chance to collaborate and experience the diversity of perspectives that fuels creativity. It can be a tough road for aspiring designers, but I would encourage them to proceed with care and openness, and to leave their fears behind. 

Welcome back to TechCrunch Mobility — your central hub for news and insights on the future of transportation. Sign up here for free — just click TechCrunch Mobility! It might have been a short week, but there was still plenty of news, including another Zoox recall, an update on the Stellantis-Amazon partnership, and a few startup-funding deals.  One item of note: This week, I wrote about Carma Technology and its patent infringement lawsuit against Uber. This isn’t a patent troll situation, and the IP attorneys I have spoken with say it will be a challenging case for Uber.  The gist? Carma, which was formed in 2007 by serial entrepreneur and SOSV Ventures founder Sean O’Sullivan, filed a lawsuit earlier this year against Uber, alleging the company infringed on five of its patents that are related to the system of matching riders (or packages) with capacity in vehicles. In other words, ride-sharing. IP attorney Larry Ashery provided the money quote that explains why this is such a complicated and challenging case.  “What’s important to understand here is, Carma isn’t just asserting five patents. They have had a very sophisticated strategy of patent procurement that they’ve been working on for the past 18 years.” Carma’s five patents are part of a 30-patent family that are all related and connected to the original filing date. That matters because each of the five asserted patents contains multiple patent claims, which define the legal boundaries of the invention. These individual claims — not just the patents as a whole — are what Carma is asserting against Uber.That means Uber will have to address and defend against each asserted claim, making the litigation more complex and difficult to defeat, Ashery noted.  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 Let’s get into the rest of the news.  A little bird Image Credits:Bryce Durbin A few little birds have been chirping at us for months now about a new autonomous vehicle technology startup that has been quietly plugging along for a year. The interesting nugget about this startup — which is called Bedrock Robotics — is who is behind it: Boris Sofman, who led Waymo’s self-driving trucks program and previously co-founded and led the popular consumer robotics company Anki.  The San Francisco-based startup is still in stealth, but my sources tell me it has raised considerable venture funds. Bedrock Robotics is working on a self-driving kit that retrofits onto construction equipment and other heavy machinery, according to a filing with the U.S. Patent and Trademark Office.  Got a tip for us? Email Kirsten Korosec at kirsten.korosec@techcrunch.com or my Signal at kkorosec.07, Sean O’Kane at sean.okane@techcrunch.com, or Rebecca Bellan at rebecca.bellan@techcrunch.com. Or check out these instructions to learn how to contact us via encrypted messaging apps or SecureDrop. Deals! Image Credits:Bryce Durbin Firefly Aerospace received a $50 million investment from Northrop Grumman as part of its Series D round. This investment will further advance production of the startup’s  co-developed medium launch vehicle, now known as Eclipse. Pallet, a warehouse logistics software startup based in Fremont, California, raised $27 million in a Series B funding round led by General Catalyst. Bain Capital Ventures, Activant Capital, and Bessemer Venture Partners also participated. Volteras, a London-based startup building virtual connective tissue that will allow plugged-in EVs to offer their batteries to support the grid, closed an $11.1 million Series A led by Union Square Ventures, with participation from Edenred, Exor, Long Journey Ventures, and Wex. Way Data Technologies, a fleet management startup founded by veterans of Lucid Motors and Wolt, raised €2.6 million ($2.95 million) in pre-seed funding led by Pale Blue Dot, with participation from 10x Founders and Greens Ventures.  Notable reads and other tidbits Image Credits:Bryce Durbin Autonomous vehicles Rivr’s four-wheeled, stair-climbing delivery robot — which its CEO and founder, Marko Bjelonic, describes as a dog on roller skates — will ferry packages from Veho vans directly to customers’ front doors as part of a pilot program in Austin, Texas. Both companies see this small pilot as a critical step toward solving a unique slice of the end-to-end autonomous delivery journey.   TuSimple (now CreateAI) sent a trove of sensitive data — effectively the blueprint of an American-made autonomous vehicle system — to a Beijing-owned firm after committing to the U.S. government that it would cease such transfers under a national security agreement. The revelation, first reported by the Wall Street Journal, prompted numerous “not surprised” responses from several readers and sources within the industry. Zoox issued its second voluntary software recall in a month, following a collision between one of its robotaxis and an e-scooter rider in San Francisco on May 8. The incident is notable, largely for what happened after the unoccupied Zoox vehicle operating at low speed was struck by the e-scooter after braking to yield at an intersection.  According to Zoox, the e-scooterist fell to the ground directly next to the vehicle and the “robotaxi began to move and stopped after completing the turn, but did not make further contact with the e-scooterist.” In other Zoox news, the company announced it was the “official robotaxi partner of Resorts World Las Vegas.” As part of the deal, there will be a dedicated and Zoox-branded robotaxi pickup and drop-off location at Resorts World Las Vegas.  Electric vehicles, charging, & batteries The Tesla Cybertruck is having a rough time. Dozens of unsold Tesla Cybertrucks are piling up at a Detroit shopping center parking lot. And while Cybertruck owners are now allowed by Tesla to trade in their vehicles for the first time since they hit the market, they’ll face a steep depreciation hit. CarGurus recently showed depreciation rates of up to 45%. Meanwhile, Tesla sales in Europe and the U.K. have fallen by nearly half, according to data released by the European Automobile Manufacturers Association.  The Volkswagen emissions cheating scandal of 2015 rippled through the automotive sector and prompted the company (and later followed by others) to shift away from diesel and toward hybrids and electric vehicles. Now, four former Volkswagen executives have received prison sentences for their role. In-car tech Amazon is no longer working with Stellantis to create in-car software for the automaker’s vehicles. The partnership, first announced in January 2022, was part of Stellantis’ plan to generate $22.5 billion annually from software. Stellantis told TechCrunch it would be pivoting to an Android-based system.

Twisted Automotive, a UK-based company known for its custom Defender builds, has unveiled its latest project – a radically reimagined Volkswagen Beetle called the T-Bug. This bespoke off-roader is a modern interpretation of the classic Baja Bug, engineered to deliver enhanced performance while preserving the original model’s distinct aesthetic. Built from a 1960s Volkswagen Beetle chassis, the T-Bug is a one-off vehicle crafted as part of Twisted’s “Special Project” line. The custom-built retains the recognizable Beetle silhouette but undergoes a comprehensive transformation to handle rugged off-road conditions. Twisted reinforces the chassis, integrates new suspension geometry, and fits it with large off-road tires and beadlock wheels to ensure improved ground clearance and terrain capability. Designer: TwistedAuto The vehicle is powered by a 2.5-liter Subaru flat-four engine, delivering around 200 horsepower to the rear wheels. This marks a significant performance upgrade over the Beetle’s original powertrain and aligns with Twisted’s focus on modern functionality. The engine is mated to a five-speed manual gearbox, contributing to the T-Bug’s mechanical simplicity and off-road versatility. The custom exhaust system and cooling configuration further support the vehicle’s high-performance ambitions. The exterior features aluminum fenders, tubular bumpers, and LED lighting, enhancing both durability and visibility. An external roll cage adds structural integrity, while the matte grey body paint and lime green accents give the T-Bug a distinct visual identity. These design choices reflect a blend of rugged performance and refined craftsmanship. Inside, the T-Bug maintains a utilitarian yet tailored approach. The stripped-back interior includes bucket seats with four-point harnesses, a custom dashboard, and minimalistic switchgear. Every element is engineered for function, with a design language that supports driver focus in off-road environments. The cabin also features waterproof materials and durable finishes to withstand extreme conditions. Twisted has incorporated modern technologies selectively, ensuring the T-Bug remains loyal to its analog roots. There is no infotainment system or advanced driver aids, aligning with the philosophy of mechanical engagement and hands-on driving. Instead, features like auxiliary lighting, custom gauges, and GPS navigation support the vehicle’s intended use for desert or trail expeditions. This special project is not intended for mass production. Twisted built the T-Bug as a demonstration of its bespoke capabilities and its ability to reinterpret classic vehicles for new purposes. The project serves as a showcase of the firm’s engineering expertise, creative design, and commitment to craftsmanship. The T-Bug stands out as a highly capable off-roader with a nostalgic foundation, modern powertrain, and custom design. It redefines what a Baja Bug can be without sacrificing authenticity or performance. Twisted Automotive’s reinterpretation of the Beetle underscores the company’s distinct skill in bridging heritage and innovation through precision-built, purpose-driven vehicles. The T-Bug is set to debut on May 29 at Twisted’s Kensington Mews showroom, with pricing available upon inquiry through the company’s official website. The post The Classic VW Beetle Gets a Savage Off-Road Makeover first appeared on Yanko Design.

We may earn a commission from links on this page.Having your car stolen is a traumatic experience—and a depressingly common one. Although car thefts nationwide are trending downward, there were still more than 850,000 vehicles stolen in 2024. If you’ve ever woken up to find your car missing from its spot (and I have!) you know it’s not fun.But thieves don’t always target the entire car. It’s often easier and less risky to steal a specific part from your car or truck. Many of these parts are relatively easy to access, remove, and sell, and the profit margin can be very lucrative for a busy and organized criminal. If your car is ever parked out in the open (especially overnight), it could be targeted for a surprisingly long list of specific parts. The good news is that you can protect every bit of your vehicle with a little foresight and a few security gadgets. Catalytic convertersEver since catalytic converters entered widespread use in the 1970s, thieves have targeted them. They’re a perfect storm for thieves: Accessible, relatively easy to remove, and valuable due to the mix of precious metals inside them (including palladium, platinum, and rhodium). Thieves know they can get between $250 and $800 for a catalytic converter, depending on the vehicle it was taken from. That’s why about 64,000 catalytic converter were stolen in 2022 alone.How to stop thieves: The best thing you can do is to install an anti-theft device like a Catstrap. This is a band of strip steel that is adhered to the length of your exhaust system, making it almost impossible for thieves to cut through the pipes to steal the converter. You can also consider etching identifying information on the converter to make it difficult to sell on the black market. The downside of this approach is that thieves may not notice the etching until after they’ve removed the converter.WheelsYour car's wheels and tires are prime targets for theft. Tires can be stripped off your car in a very short period of time, and they can be sold very easily, especially since tires—especially high-end tires—can run as much as $1,000 each.How to stop thieves: Your best bet is to install model-appropriate locking lugnuts like these. These will make it very difficult for thieves to use standard tools to remove your wheels. With a lot of effort and some specialized tools, they can be defeated, but chances are your thief will just move on to a different car with wheels that are easier to steal.BatteriesA standard car battery in a gas-powered vehicle isn’t worth much—typically less than 20 cents per pound. But batteries are also incredibly easy to steal, so thieves will sometimes make a sweep of an area to steal as many batteries as possible in order to make the payout worth their time. The batteries in a hybrid vehicle can be worth more, and the batteries in an electric vehicle can be very, very valuable—but also a lot harder to steal.How to stop thieves: Adding a battery lock bracket is easy, cheap, and pretty effective. Since battery thieves don’t make much per battery, any additional barrier will probably deter them pretty effectively.TailgatesYes, believe it or not, thieves are after your truck’s entire tailgate. This is especially true if you own a Toyota Tacoma, because the tailgates on that model are incredibly easy to detach—they’re literally engineered to be removed easily. But any truck tailgate is a target because they’re all relatively easy to remove, and these days your tailgate contains a bunch of high-tech gear (cameras, sensors, etc.) that can be stripped out for resale.How to stop thieves: You can install a tailgate lock for your make and model (like this one for suffering Tacoma owners).AirbagsIt’s estimated that about 50,000 airbags are stolen annually in the U.S. They’re valuable, fetching up to $200 on the black market, which makes them attractive to thieves. Thieves usually target dealerships or other places where cars are left unattended in accessible lots, but cars parked on the street are also hit.How to stop thieves: The best ways to stop airbag theft is to lock your car when you park it and park it inside a secured area, like a garage. If that’s not possible, using a steering wheel lock using the “club” design can be effective, as it physically makes it difficult to access the driver’s-side airbag. This won’t stop thieves from grabbing the passenger-side airbag, of course, but cutting their profit in half might inspire them to move on.License platesThieves steal license plates because it’s an easy way to cloak a vehicle. Sometimes they’re put on stolen vehicles, sometimes they’re used to evade tolls—but the fact that they’re generally easy to steal and very difficult to track makes them popular targets. In fact, the National Insurance Crime Bureau (NICB) notes that license plate theft has been rising rapidly—by 45% between 2019 and 2022 alone.How to stop thieves: Swapping out the rusty, standard screws holding your plates on for some tamper-proof screws will do the job. These screws require a special fastener to attach or detach, and the kits come with screw covers to make it even more difficult to access.Side mirrorsYou might think your side mirrors are just mirrors, and who would bother stealing those? Ah, but modern-day side mirrors have a lot of technology inside them, especially on luxury vehicles, including blind spot sensors, defrosting systems, and cameras. Believe it or not, some mirrors can command upwards of $2,000 each!How to stop thieves: If your side mirrors are motorized, turning them in when you park can make it more difficult for thieves to access them. You can also look for anti-theft mirror guards (like this one) for your make and model, which add a layer of security to the mirror to deter thieves.Third row seatsIf you have a truck or SUV with a removable third-row seat, you should know that it’s increasingly popular to steal them. The reason third-row seats are targeted is the universal reason anything gets stolen: These seats cost thousands of dollars to replace.How to stop thieves: The best way to prevent theft of your truck’s third-row seat is to secure it with a bike lock. The specific lock that will work depends on how your third-row seat attaches and detaches, but all you need to do is secure it in place. It removes some of the convenience, but it’s a lot better than having your kids roll around in the cab while you drive.BadgesPeople have been stealing car badges and hood ornaments for decades, often just to collect them or as petty acts of vandalism. But these days those emblems can actually contain a lot of expensive technology. Modern Volkswagens, for example, often tuck cruise control sensors into the hood emblem. That makes those badges a lot more valuable than you might think, and thieves are definitely aware of their added value.How to stop thieves: It’s very difficult to stop someone from removing an emblem, badge, or ornament from your car. If you can access the back where it’s attached, you can try using wire or zipties to secure it more firmly—but if you can access it, so can thieves. Your best defense is to park the vehicle in a secure area whenever possible.

In The Electric State, based on a graphic novel by Swedish artist Simon Stålenhag, after a robot uprising in an alternative version of the 1990s, an orphaned teenager goes on a quest across the American West, with a cartoon-inspired robot, a smuggler, and his sidekick, to find her long-lost brother. Adapting this sci-fi adventure for Netflix were Joe and Anthony Russo; their film stars Millie Bobbie Brown, Chris Pratt, Stanley Tucci, Giancarlo Esposito and a cast of CG automatons voiced by the likes of Woody Harrelson, Alan Tudyk, Hank Azaria, and Anthony Mackie.  Overseeing the visual effects, which surpassed what the Russos had to deal with during their halcyon MCU days, was Matthew Buttler, who turned to the venerable Digital Domain. As the main vendor, the studio was responsible for producing 61 character builds, 480 assets, and over 850 shots. “It was one of the biggest projects that I’ve done in terms of sheer volumes of assets, shots and characters,” states Joel Behrens, VFX Supervisor, Digital Domain.  “Our wonderful asset team did the 61 characters we were responsible for and had to ingest another 46 characters from other facilities.  We didn’t do any major changes. It was pushing our pipeline to the limits it could handle, especially with other shows going on. We took up a lot of disk space and had the ability to expand and contract the Renderfarm with cloud machines as well.” In researching for the show, Digital Domain visited Boston Dynamics to better understand the technological advancements in robotics, and what structures, motions, and interactions were logical and physically plausible.  “There is a certain amount of fake engineering that goes into some of these things,” notes Behrens.  “We’re not actually building these robots to legitimately function in the real world but have to be visibly believable that they can actually pull some of this stuff off.”  The starting point is always the reference material provided by the client.  “Is there a voice that I need to match to?” notes Liz Bernard, Animation Supervisor, Digital Domain.  “Is there any physical body reference either from motion reference actors in the plate or motion capture? We had a big mix of that on the show.  Some of our characters couldn’t be mocapped at all while others could but we had to modify the performance considerably.  We were also looking at the anatomy of each one of these robots to see what their physical capabilities are.  Can they run or jump?  Because that’s always going to tie tightly with the personality.  Your body in some ways is your personality.  We’re trying to figure out how do we put the actor’s voice on top of all these physical limitations in a way that feels cohesive.  It doesn’t happen overnight.”  The character design of Cosmo was retained from the graphic novel despite not being feasible to engineer in reality.  “His feet are huge,” laughs Bernard.  “We had to figure out how to get him to walk in a way that felt normal and put the joints in the right spots.” Emoting was mainly achieved through physicality.  “He does have these audio clips from the Kid Cosmo cartoon that he can use to help express himself verbally, but most of it is pantomime,” observes Bernard.  “There is this great scene between Cosmo and Michelle that occurs right after she crashes the car, and Cosmo is still trying to convince her who he is and why she should go off on this great search for her brother across the country.   We were trying to get some tough nuanced acting into these shots with a subtle head tilt or a little bit of a slump in the shoulders.”  A green light was inserted into the eyes.  “Matthew Butler likes robotic stuff and anything that we could do to make Cosmo feel more grounded in reality was helpful,” observes Behrens.  “We also wanted to prevent anyone from panicking and giving Cosmo a more animated face or allowing him to speak dialogue. We started off with a constant light at the beginning and then added this twinkle and glimmer in his eye during certain moments. We liked that and ended up putting it in more places throughout the film. Everybody says that the eyes are the windows to the soul so giving Cosmo something rather than a dark black painted spot on his face assisted in connecting with that character.”  Coming in four different sizes that fit inside one another - like a Russian doll - is Herman. Digital Domain looked after the eight-inch, four-foot and 20-foot versions while ILM was responsible for the 60-foot Herman that appears in the final battle.   “They were scaled up to a certain extent but consider that the joints on the 20-foot version of Herman versus the four-foot version need to be more robust and beefier because they’re carrying so much more weight,” remarks Bernard.  “We were focusing on making sure that the impact of each step rippled through the body in a way that made it clear how heavy a 20-foot robot carrying a van across a desert would be.  The smaller one can be nimbler and lighter on its feet.  There were similar physical limitations, but that weight was the big deal.”  Incorporated into the face of Herman is a retro-futuristic screen in the style of the 1980s and early 1990s CRT panels. “It has these RGB pixels that live under a thick plate of glass like your old television set,” explains Behrens.  “You have this beautiful reflective dome that goes over top of these cathode-ray-looking pixels that allowed us to treat it as a modern-day LED with the ability to animate his expressions, or if we wanted to, put symbols up. You could pixelized any graphical element and put it on Herman’s face.  We wanted to add a nonlinear decay into the pixels so when he changed expressions or a shape altered drastically you would have a slow quadratic decay of the pixels fading off as he switched expressions. That contributed a nice touch.” One member of the robot cast is an iconic Planters mascot.  “Everybody knows who Mr. Peanut is and what he looks like, at least in North America,” observes Behrens.  “We had to go through a lot of design iterations of how his face should animate. It was determined that as a slightly older model of robot he didn’t have a lot of dexterity in his face. We were modelling him after Chuck E. Cheese and ShowBiz Pizza animatronics, so it was like a latex shell over the top of a mechanical under structure that drove his limited expressions. It allowed him to open and close his mouth and do some slight contractions at the corners, leaving most of the acting to his eyes, which did not have as many restrictions. The eyes had the ability to move quickly, and dart and blink like a human.”  The eyebrows were mounted tracks that ran up and down a vertical slot on the front of the face.  “We could move the eyebrows up and down, and tilt them, but couldn’t do anything else,” states Bernard.  “It was trying to find a visual language that would get the acting across with Woody Harrelson’s amazing performance backing it up.  Then a lot of pantomime to go with that.”  Mr. Peanut moves in a jerky rather than smooth manner.  “Here is a funny little detail,” reveals Bernard.  “If you think about a peanut shell, he doesn’t have a chest or hips that can move independently.  We realized early on that in order to get him to walk without teeter-tottering everywhere, we were going to have to cut his butt off, reattach it and add a swivel control on the bottom.  We always kept that peanut silhouette intact; however, he could swivel his hips enough to walk forward without looking silly!”  Other notable robots are Pop Fly and Perplexo; the former is modelled on baseball player, the latter on a magician.  “We decided that Pop Fly would be the clunkiest of all robots because he was meant to be the elder statesman,” states Behrens.  “Pop Fly was partially falling apart, like his eye would drift, the mouth would hang open and sometimes he’d pass out for a second and wake back up.  Pop Fly was the scavenger hunter of the group who has seen stuff in the battles of the wasteland. We came up with a fun pitching mechanism so he could actually shoot the balls out of his mouth and of course, there was his trusty baseball bat that he could bat things with.” An interesting task was figuring out how to rig his model.  “We realized that there needed to be a lot of restrictions in his joints to make him look realistic based on how he was modelled in the first place,” notes Bernard.  “Pop Fly couldn’t rotate his head in every direction; he could turn it from side to side for the most part.  Pop Fly was on this weird structure with the four wheels on a scissor lift situation which meant that he always had to lean forward to get going and when stopping, would rock backwards.  It was fun to add all that detail in for him.”  Serving as Perplexo’s upper body is a theatrical box that he pops in and out of.  “Perplexo did not have a whole lot going on with his face,” remarks Bernard.  “It was a simple mechanical structure to his jaw, eyes, and eyelids; that meant we could push the performance with pantomime and crazy big gestures with the arms.”               A major adversary in the film is The Marshall, portrayed by Giancarlo Esposito, who remotely controls a drone that projects the face of operator onto a video screen.  “We started with a much smaller screen and had a cowboy motif for awhile, but then they decided to have a unifying design for the drones that are operated by humans versus the robots,” remarks Behrens.  “Since the artist Simon Stålenhag had done an interesting, cool design with the virtual reality helmets with that long duckbill that the humans wear in the real world, the decision was made to mimic that head style of the drones to match the drone operators. Then you could put a screen on the front; that’s how you see Ted [Jason Alexander] or The Marshall or the commando operators. It worked out quite nicely.”   There was not much differentiation in the movement of the drones.  “The drones were meant to be in the vein of Stormtroopers, a horde of them being operated by people sitting in a comfortable room in Seattle,” observes Bernard. “So, they didn’t get as much effort and love as we put into the rest of the robots which had their own personalities. But for The Marshall, we have great mocap to start from Adam Croasdell. He played it a little bit cowboy, which was how Giancarlo Esposito was portraying the character as well, like a Western sheriff style vibe. You could hear that in the voice.  Listening to Giancarlo’s vocal performance gives you a lot of clues of what you should do when you’re moving that character around.  We put all of that together in the performance of The Marshall.”   Many environments had to either be created or augmented, such as the haunted amusement park known as Happyland. “The majority of the exterior of Happyland was a beautiful set that Dennis Gassner and his crew built in a parking lot of a waterslide park in Atlanta,” states Behrens.  “We would go there at night and freeze our butts off shooting for a good two and a half weeks in the cold Atlanta winter.  Most of our environmental work was doing distance extensions for that and adding atmospherics and fog.  We made all the scavenger robots that inhabit Happyland, which are cannibalistic robotics that upgrade and hot rod themselves from random parts taken from the robots that they kill.  Once we get into the haunted house and fall into the basement, that’s where Dr. Amherst has his lab, which was modelled off a 1930s Frankenstein set, with Tesla coils, beakers, and lab equipment.  That was initially a set build we did onstage in Atlanta. But when we got into additional photography, they wanted to do this whole choreographed fight with The Marshall and Mr. Peanut. Because they didn’t know what actions we would need, we ended up building that entire lower level in CG.”   At one point, all the exiled robots gather at the Mall within the Exclusion Zone.  “We were responsible for building a number of the background characters along with Storm Studios and ILM,” remarks Behrens.  “As for the mall, we didn’t have to do much to the environment.  There were some small things here and there that had to be modified.  We took over an abandoned mall in Atlanta and the art department dressed over half of it.” The background characters were not treated haphazardly. “We assigned two or three characters to each animator,” explains Bernard.  “I asked them to make a backstory and figure out who this guy is, what does he care about, and who is his mama?!  Put that into the performance so that each one feels unique and different because they have their own personalities.  There is a big central theme in the movie where the robots are almost more human than most of the humans you meet.  It was important to us that we put that humanity into their performances. As far as the Mall and choreography, Matthew, Joel and I knew that was going to be a huge challenge because this is not traditional crowd work where you can animate cycles and give it to a crowds department and say, ‘Have a bunch of people walking around.’  All these characters are different; they have to move differently and do their own thing.  We did a first pass on the big reveal in the Mall where you swing around and see the atrium where everybody is doing their thing.  We essentially took each character and moved them around like a chess piece to figure out if we had enough characters, if the color balanced nicely across all of them, and if it was okay for us to duplicate a couple of them.  We started to show that early to Matthew and Jeffrey Ford [Editor, Executive Producer], and the directors to get buyoff on the density of the crowd.”    Considered one of the film’s signature sequences is the walk across the Exclusion Zone, where 20-foot Herman is carrying a Volkswagen van containing Michelle, Cosmo and Keats on his shoulder.  “We did a little bit of everything,” notes Behrens.  “We had plate-based shots because a splinter unit went out to Moab, Utah and shot a bunch of beautiful vistas for us.  For environments, there were shots where we had to do projections of plate material onto 3D geometry that we built. We had some DMPs that went into deep background. We also had to build out some actual legitimate 3D terrain for foreground and midground because a lot of the shots that had interaction with our hero characters rocking and back forth were shot on a bluescreen stage with a VW van on a large gimbal rig.  Then Liz had the fun job of trying to tie that into a giant robot walking with them.  We had to do some obvious tweaking to some of those motions. The establishing shots, where they are walking through this giant dead robot skeleton from who knows where, several of those were 100 percent CG. Once they get to the Mall, we had a big digital mall and a canyon area that had to look like they were once populated.”  Modifications were kept subtle.  “There were a couple of shots where we needed to move the plate VW van around a little bit,” states Bernard.  “You can’t do a lot without it starting to fall apart and lose perspective.”  “The biggest challenge was the scale and sheer number of characters needed that played a large role interacting with our human actors and creating a believable world for them to live in,” reflects Behrens.  “The sequence that I had the most fun with was the mine sequence with Herman and Keats, as far as their banter back and forth. Some of our most expansive work was the Mall and the walk across the Exclusion Zone.  Those had the most stunning visuals.”  Bernard agrees with her colleague.  “I’m going to sound like a broken record.  For me, it was the scale and the sheer number of characters that we had to deal with and keeping them feeling that they were all different, but from the same universe.  Having the animators working towards that same goal was a big challenge.  We had quite a large team on this one.  And I do love that mine sequence.  There is such good banter between Keats and Herman, especially early on in that sequence.  It has so much great action to it.  We got to drop a giant claw on top of The Marshall that he had to fight his way out of.  That was a hard shot.  And of course, the Mall is stunning.  You can see all the care that went into creating that environment and all those characters.  It’s beautiful.”      Trevor Hogg is a freelance video editor and writer best known for composing in-depth filmmaker and movie profiles for VFX Voice, Animation Magazine, and British Cinematographer.

oops Tesla crushed in Europe as BYD outsells; BEV sales surge 28% Tesla sales fell 49 percent year over year in April. Jonathan M. Gitlin – May 22, 2025 9:52 am | 79 Credit: Getty Images Credit: Getty Images Story text Size Small Standard Large Width * Standard Wide Links Standard Orange * Subscribers only   Learn more The extent of Tesla's meteoric decline in popularity is on vivid display in the latest new car registration numbers coming out of Europe. New car sales were essentially flat in the region last month, with just under 1,400 more cars sold this year than last. But the market is far from static; plug-in sales are booming, with battery electric vehicle registrations up by 28 percent according to the analysts at JATO Dynamics, and plug-in hybrid EV sales increased by 31 percent. Almost every automaker has capitalized on this growth, with a few exceptions—Tesla being the most significant. As the first mainstream BEV-only brand, Tesla led the way in European EV sales and made much of the fact that its Model Y crossover was the best-selling car in Europe for some time. Those days are long gone. Model Y registrations fell by 53 percent last month to just 4,495 units, dropping it to 9th on the list of most-registered BEVs. First place went to the Skoda Elroq, followed by VW's ID.3, ID.7, ID.4, and the new Kia EV3. When you look at sales at the brand level, things get a little worse for the American automaker. Volkswagen sold more EVs than anyone else in Europe last month, increasing by 61 percent to 23,514 units. As for Tesla? It fell to 11th place, with just 7,165 sales in total, a 49 percent decrease year on year. Beating it to 10th place was China's BYD. Barred from the US market by protectionist laws and now heavy new tariffs, BYD has focused instead on Europe. Its PHEVs have been selling strongly there, unaffected by tariffs aimed at BEVs, but even its BEV sales have now eclipsed Tesla, with 7,231 registrations last month. "Although the difference between the two brands' monthly sales totals may be small, the implications are enormous," said Felipe Munoz, global analyst at JATO Dynamics. "This is a watershed moment for Europe's car market, particularly when you consider that Tesla has led the European BEV market for years, while BYD only officially began operations beyond Norway and the Netherlands in late 2022." Jonathan M. Gitlin Automotive Editor Jonathan M. Gitlin Automotive Editor Jonathan is the Automotive Editor at Ars Technica. He has a BSc and PhD in Pharmacology. In 2014 he decided to indulge his lifelong passion for the car by leaving the National Human Genome Research Institute and launching Ars Technica's automotive coverage. He lives in Washington, DC. 79 Comments