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Wi-Fi 7 is ridiculously fast. So much so that most households have no use for it, not to mention actually having the gear to support it. Just having a router with Wi-Fi 7 doesn't mean that your entire home and your ISP can support those wild speeds.

Once a manufacturer stops supporting a device, you might assume it's headed for the e-waste bin. When online services and updates disappear, many devices become effectively useless. But thanks to enthusiast communities, that isn't always the case; many products become even more useful after official support ends.

Last weekend marked the arrival of one of Netflix's newest movies, Animals, starring Ben Affleck and Kerry Washington. It's a political thriller about a mayoral candidate who fights to save his kidnapped son. With an enticing premise and an A-list cast, I'd expect Animals to become a popular movie with subscribers this week.

I've been a fan of Dygma's keyboards since their very first Raise keyboard. I have used a Dygma Raise or Raise 2 for the better part of five years now, so when the opportunity came about to try out the Sonsei, I jumped at it. This uniquely portable columnar keyboard surprised me in quite a few ways. But, at the end of the day, I really love this little keyboard, even though there's a big learning curve.

Once, it was relatively inexpensive to buy another hard drive and throw it in your server when you ran out of space. These days, "just add another drive" is an expensive proposition.

Waze gets me where I need to go, but that doesn’t always make the drive pleasant. Sometimes, it talks over my Spotify playlist, and other times, its suggested routes make me wonder what it’s thinking. I’ve used the app enough to know its basic features, but I rarely bother exploring beyond the usual directions and traffic alerts.

A polished Linux terminal rarely arrives preconfigured. TheLinux terminal fits most people, but the setups people admire are assembled piece by piece around stuff like Zsh and Oh My Zsh. Here is what those tools are, why they make a strong foundation, and whether the effort pays off.

For most of my life, owning a PC meant having a tower case so big it made more sense to keep it on the floor. But with all the hardware stuffed in that box, it actually needed to be that size.

I'd never imagined that I would be using a task manager from the Linux terminal. Using commands to create to-do lists instead of using a cool-looking GUI with color customization options. That's until I came across Taskwarrior. It's a free, open-source task manager that's also simple to use. But that's the point. It can replace other bloated desktop apps.

Apple wanted its original iMac to look like the future, and even the mouse got the translucent-plastic treatment. The trouble was that the mouse was a circle, and hands aren't particularly circular. What followed was a small but fascinating collection of products designed to make Apple's distinctive little puck more comfortable, more familiar, or entirely unnecessary.

We're in the midst of the fall TV onslaught, when many big shows come firing back with hot new seasons. If you're a planner with severe FOMO like me, a good look ahead at what's coming is just the kind of obsessive thing you need to make sure you don't miss anything.

There's plenty of magic, mythology, and larger-than-life action in Children of Blood and Bone, but beneath all that fantasy is something a little more grounded: family drama.

The upcoming adaptation of Tomi Adeyemi's bestselling novel closed out Saturday night at New York Comic Con with a packed panel on the Empire Stage, where director Gina Prince-Bythewood and the star-studded cast debuted an extended trailer offering fans another look at the fantastical world of Orïsha. And while the footage delivered on the film's epic scale, some of its most compelling moments were decidedly more intimate.

SEE ALSO: How 'Children of Blood and Bone' is bringing one of BookTok's biggest fantasy worlds to the big screen

The trailer puts the royal family's fractured relationships into sharper focus. After witnessing a horrific act of violence at the hands of her father, King Saran (Chiwetel Ejiofor), Princess Amari (Amandla Stenberg) flees the palace, while her brother, Inan (Damson Idris), finds himself torn between loyalty to his father and his own conscience.

During a conversation moderated by Knives Out filmmaker Rian Johnson, the cast opened up about the emotional conflicts driving the film's two central families. Johnson described the relationship between Saran and his children as a "Shakespearean journey," one defined by love, betrayal, and the struggle to trust the people closest to you.

(L-R) Rian Johnson, Gina Prince-Bythewood, Thuso Mbedu, Damson Idris, Amandla Stenberg, Tosin Cole, Cynthia Erivo, Lashana Lynch, and Chiwetel Ejiofor attend New York Comic Con 2026. Credit: Slaven Vlasic/Getty Images for Paramount Pictures A royal family divided

Children of Blood and Bone follows Zélie Adebola (Thuso Mbedu), a young woman determined to restore magic to Orïsha after a brutal campaign against the maji, the people who once wielded it. Her quest puts her on a collision course with the ruling monarchy, where the king's cruelty has already begun to fracture his own family.

Ejiofor described King Saran as a man impelled by trauma and rage, whose convictions are challenged over the course of the story. "There's a sort of bottomless pit that he has," the actor said of his character's emotional intensity.

To explore the royal family's complicated history, Prince-Bythewood brought the three actors together to imagine the experiences that shaped their characters, including moments that might never appear onscreen. "Gina got us together and we kind of just talked about things that may have happened and may not have happened, and the dynamics of a family such as this," Idris said. "I think that all shows itself on screen."

For Idris, those conversations were essential to understanding Inan, a prince struggling to reconcile his father's expectations with his own beliefs. "Inan personally is such a complicated character who goes through so many different emotions," he said, adding that Prince-Bythewood gave him the patience and space to explore those contradictions.

The royal family on their thrones. Credit: Lephatse Motshana Courtesy of © 2026 Paramount Pictures

Stenberg, meanwhile, was drawn to the tension between love and mistrust within the family, particularly how difficult it can be to rebuild a relationship after someone has hurt you. "There's something so beautiful and painful about when people love each other, [as] family, and are also trying to find a window of trust with each other, even when they have been hurt badly," Stenberg said.

The actors began developing that dynamic through video calls while living in different countries, before continuing the character work together on set in South Africa. For Stenberg, exploring those relationships was both emotionally demanding and rewarding. "We had such a good time," she recalled. "It was so sad, and it was so awesome."

And despite the family's fractured relationships, Ejiofor emphasized that their connection isn't entirely defined by conflict. "It is a deeply dysfunctional family," he said. "But there is love at the root of it."

Two siblings, one shared loss

That tension between love and conflict isn't limited to the royal family. On the other side of Orïsha's political divide are Zélie and her older brother, Tzain (Tosin Cole), whose relationship is similarly shaped by loss.

The siblings have experienced the same family tragedy, but they don't necessarily agree on how to move forward. As Cole explained, grief can manifest differently even among people who have suffered the same loss.

"Some people become defensive, some people rebel," Cole said. "Everyone's going through the same thing, just navigating it in a different way."

Tosin Cole, Amandla Stenberg, Thuso Mbedu, and Damson Idris pose for photos at New York Comic Con. Credit: Slaven Vlasic/Getty Images for Paramount Pictures

But despite their differences, Zélie and Tzain are ultimately driven by the same motivation to protect what's left of their family. "That's the most important thing between the two," Cole added. "Trying to keep whatever they have in the sense of love, and not trying to lose another family member."

Offscreen, however, Mbedu and Cole's sibling dynamic appeared considerably less fraught. The two spent weeks training together for the film's demanding action sequences, developing a natural familiarity that occasionally made Mbedu forget they weren't actually related.

"Sometimes I would forget that this is not my actual sibling," Mbedu recalled, joking that she'd have to remind herself to be professional on set. Then, gesturing toward Cole, she called him a "clown."

"I won't apologize for who I am," Cole shot back.

It was a playful exchange that offered a glimpse of their easy chemistry, and a welcome contrast to the royal family's considerably more complicated relationships.

Finding the humanity in fantasy

For Prince-Bythewood, those complicated relationships are what give the film's enormous scale its emotional weight. During the panel, she described her vision for Children of Blood and Bone as an "intimately grounded fantasy," one where the gods, magic, and battles never overshadow the people at the center of the story.

The filmmaker, whose previous credits include Love & Basketball and The Woman King, recalled asking Johnson for advice about approaching a production of this size. His response was simple: No matter how much money or how many resources a filmmaker has, the responsibility is still to tell a good story.

That attention to character extends to the world of Orïsha itself. Prince-Bythewood wanted the fantasy kingdom to feel tangible, building elaborate sets and filming in remote locations across South Africa.

A scene screened exclusively at NYCC offered a glimpse of that vision in action. Zélie trains with a bo staff under Mama Agba's (Viola Davis) watchful eye before she and the others hurriedly hide their weapons and pretend to weave clothing when royal officials arrive to collect taxes. It's a sequence that showcases the film's intricate fight choreography while underscoring the constant threat of living under King Saran's rule.

That attention to worldbuilding extends to the music. Prince-Bythewood wanted Orïsha to sound rooted in the past while still feeling contemporary. While writing the screenplay, she listened almost exclusively to Afrobeats, particularly Tems and Burna Boy, who later joined the production as soundtrack curator and music consultant, respectively. Composer Terence Blanchard then incorporated traditional African instrumentation and Tems' vocals into his orchestral score, blending contemporary sounds with musical traditions that could make Orïsha feel both ancient and alive.

It's all part of Prince-Bythewood's approach to creating a fantasy world that feels lived-in, even when its characters are wielding magic and fighting gods. And as the cast made clear at NYCC, the film's most consequential battles aren't necessarily fought with weapons or magic. Sometimes they're fought within families, between people who love each other but can't agree on what that love demands.

Children of Blood and Bone hits theaters on Jan. 15, 2027.

Ditching Google on an Android phone isn't as hard as you might think — until you need directions. Gmail, Search, and even YouTube all have decent replacements, but Google Maps is harder to part ways with. Not many alternatives offer live traffic, accurate business info, and reliable navigation in one app. Vela Maps is trying to change that.

If you use either Plex or Jellyfin, you'll know that managing your library can take up more time than you originally expected. It's an important part of the process, though. Both apps pull in the standard metadata for your content, but it's mostly factual information and doesn't necessarily reflect how you're going to use your library.

Linux ships with hundreds of small utilities, and most people stick to a handful. Turns out, there are tons of forgotten commands that can be either slightly fun or extremely useful. Three of them, tac, shuf, and timeout, solve common problems in a single line and take seconds to learn. And they might just earn a spot in your repertoire of commands.

Last Thursday, Anthropic updated its usage policy, which has been evolving almost as quickly as artificial intelligence, but what stood out in this most recent revision was an emphasis on protecting the AI agent from humans. 

In a subsection titled "Addressing abusive behavior toward our models," Anthropic announced it would prohibit "sustained and needless abusive or cruel behavior toward our models." This will primarily be enforced by Claude preemptively ending the conversation.

SEE ALSO: Claude sent phony tip about an unsolved murder to Philadelphia police

Anthropic was quick to point out that these measures won't be triggered by "common versions of user frustration, pushback, dark creative themes, or model testing and research." However, it seems pretty clear that a new status quo now exists, and whether or not AI agents have feelings that can be hurt, their creators want us to treat them as if they do. 

Up until now, restrictions on Claude's use have revolved around either protecting the user or serving some version of the common good. Anthropic quickly imposed strict limits on the kind of sexual fantasies its agents could engage in, for example, or attempts to gather how-to information about perpetrating acts of violence, thereby (hopefully) preventing its complicity in a future terror attack or mass casualty event. But this recent revision marks a shift in protective emphasis, from users and a tangible, real-world community to the AI agents themselves.

All of this, of course, has only added fuel to the debate over whether or not AI is conscious, which is much more widespread than you might realize. Per the New York Times, Anthropic cofounder and AI consciousness truther Chris Olah recently made his case before the Vatican and a small army of religious scholars, who ultimately rejected his claims and declined to take his side.

Don't expect their disagreement to end the debate, though. The new usage policy takes effect on Nov. 12, 2026, at which point we'll all be treating AI as if it has the capacity to feel or take offense, regardless.

While the term "agentic AI" has circulated in tech and business for some time, frontier AI companies like OpenAI and Meta are now reimagining it for the masses. Imagine an AI pet with a cute name and a distinctive personality that can perform tasks on your behalf. That's essentially the idea behind OpenAI's Dots and Meta's Muse — personal AI agents designed to handle tasks for you.

Let's face it, we've all seen guides on router settings and things of that nature. Many are actually useful; sure, there are always things to optimize in nearly every network, and if something gets past you, you might be actively bottlenecking your own connection.

Fall is one of those seasons that makes staying in with a good movie feel like the better plan. And while cozy watches usually bring warm small towns, books, and sweeping romances to mind, sometimes all you really need is a simple story that helps you relax after a long day.

Google is upgrading SynthID with the SynthID Detector tool. In addition, they're expanding the media that can be detected. Now, it goes beyond Google's models to include images, videos, and audio files from OpenAI, NVIDIA, and Kakao. Google says it will soon include AI-generated media from Apple, too.

SynthID is a tool from Google that was created to help identify AI images, videos, and audio. Google's AI models embed a watermark that's invisible to the human eye within AI-generated images. SynthID can detect these watermarks and inform users that they're viewing an AI-generated or manipulated media.

SEE ALSO: Google Gemini access is changing. Free users, take note.

According to Google, the company has watermarked more than 180 billion images and videos, as well as 240,000 years' worth of audio content, since the tool launched in 2023.

To use the SynthID Detector, simply go to synthid.com and log in using your Google, Apple, or ChatGPT account. Next, upload a media file and let the tool get to work. The SynthID Detector will let you know whether it detects a SynthID watermark and whether it designates the content as AI-generated.

One important thing to note: The SynthID Detector is not an AI detection tool. It detects the watermark that certain AI models embed in AI-generated media. If you upload AI-generated content that does not have the SynthID watermark, the SynthID Detector cannot help you detect whether the media is AI or not.