Posts Tagged: it’ll

Japan’s SLIM lunar lander made it to the moon, but it’ll likely die within hours

Japan has become the fifth country to successfully land on the moon after confirming today that its SLIM lander survived its descent to the surface — but its mission is likely to be short lived. JAXA, the Japanese space agency, says the spacecraft is having problems with its solar cell and is unable to generate electricity. In its current state, the battery may only have enough juice to keep it running a few more hours.

Based on how the other instruments are functioning, JAXA said in a press conference this afternoon that it’s evident SLIM did make a soft landing. The spacecraft has been able to communicate with Earth and receive commands, but is operating on a low battery. It’s unclear what exactly the issue with the solar cell is beyond the fact that it’s not functioning.

There’s a chance that the panels are just not facing the right direction to be receiving sunlight right now, which would mean it could start charging when the sun changes position. But, JAXA says it needs more time to understand what has happened. LEV-1 and LEV-2, two small rovers that accompanied SLIM to the moon, were able to successfully separate from the lander as planned before it touched down, and so far appear to be in working condition.

JAXA says it’s now focusing on maximizing the operational time it has left with SLIM to get as much data as possible from the landing. SLIM — the Smart Lander for Investigating Moon — has also been called the “Moon Sniper” due to its precision landing technology, which is supposed to put it within 100 meters of its target, the Shioli crater. The agency is planning to hold another press conference next week to share more updates.

Though its time may be running out, SLIM’s landing was still a major feat. Only four other countries have successfully landed on the moon: the US, China, India and Russia. The latest American attempt, the privately led Peregrine Mission One, ended in failure after the spacecraft began leaking propellant shortly after its January 8 launch. It managed to hang on for several more days and even reached lunar distance, but had no chance of a soft landing. Astrobotic, the company behind the lander, confirmed last night that Peregrine made a controlled reentry, burning up in Earth’s atmosphere over the South Pacific.

This article originally appeared on Engadget at https://www.engadget.com/japans-slim-lunar-lander-made-it-to-the-moon-but-itll-likely-die-within-hours-195431502.html?src=rss
Engadget is a web magazine with obsessive daily coverage of everything new in gadgets and consumer electronics

Don’t watch ‘Star Trek: Picard’ season three, it’ll only encourage them

The following article contains spoilers for earlier Star Trek properties but doesn’t reveal specific spoilers about Star Trek: Picard season three, not that you should be watching it anyway.

It’s 2034 and Warner Bros. decides it needs to wring more cash out of Friends, the decade defining cultural juggernaut and sitcom behemoth. Imagine what that show would be like; A warm and cozy three-decades-later check-in on characters you know intimately well. After all, you probably spent your formative years watching them mature from young single New Yorkers to a series of families. Maybe it’ll tickle those nostalgia glands, reminding you of when you watched the show with your own family as a kid.

Unfortunately, the hotshot creator of the age decided they want to go in a different direction this time. This needs to be a dark and gritty miserycore grief orgy that better reflects our more rough-and-tumble times. After all, TV these days can’t be gentle or comforting, offer escapism or posit a better world, not since Trump, Brexit, Bolonosaro, January 6th and Ukraine. The creative team have got that quote on a poster in their office, the one about thetriumph of evil, and they’re not going to sit idly by, they’re taking a stand.

In the sequel, Rachel’s famous for her wellness TikTok that often makes allusions to “reclaiming” the US as a white ethnostate. Joey lost an arm while filming a movie and is now in prison after a failed heist to pay off his life-ruining medical debt. Monica’s got a crippling adderall addiction and slips away most nights to murder the neighborhood cats and dogs. Everything’s shot in ultra gloomy vision, and there’s no laugh track, jokes or a studio audience, just unrelenting misery.

This revival is dense with references to the Friends backstory as well as the broader Friends universe. Remember that Lisa Kudrow played Phoebe’s twin sister Ursula on Mad About You, right? If not, you better get yourself to Wikipedia to study up. I mean, it won’t be relevant to the plot, but it’s something you remember, so clap, go on, clap.

You might be wondering why such a project would be allowed to happen, given that it wouldn’t be fun for fans of the original series. Times change, characters age, but you can’t turn a cozy sitcom into Breaking Bad overnight and expect that to be satisfying. You’d hardly think it’d be a big pull for newbie viewers either, who’d probably steer clear if they weren’t already familiar with 236 episodes of intricate backstory. Nostalgia revivals don’t need to be slavish to their source material, but it’s hard to see the appeal for something so grim and unpleasant.

Apropos of nothing, let’s talk about the third and final season of Star Trek: Picard.

Image of Patrick Stewart and Michael Dorn from 'Star Trek: Picard' in the USS Titan transporter room.
Trae Patton / Paramount+

Season three was sold as something of a course correction for Picard after its first two deeply unpopular runs. It ditched all but Raffi from the roster of original characters created for it, and instead pulled in the stars from Star Trek: The Next Generation. As well as the returning Jonathan Frakes, Marina Sirtis and Brent Spiner, we’ll see LeVar Burton, Gates McFadden and Michael Dorn back in action. And, in the six of ten episodes I’ve been permitted to watch under strict embargo, I’d say only one of them feels like the character we know and love.

Unfortunately, while we have the other TNG stars, the creative team of Executive Producer Alex Kurtzman and showrunner Terry Matalas didn’t bother to grab any of that show’s lightness of tone. Picard remains a grimdark slog, shot on perpetually underlit sets and featuring a succession of increasingly-bleak setpieces. The plot is stretched so thin that the first four episodes turn out to be little more than an extended prologue for the rest. A prologue that could, I should add, have been an efficient, and possibly more enjoyable, hour. The story is so obvious, too, that you’ll be ahead of the characters pretty much non-stop as they stumble from one idiot plot to the next.

It’s maddening that we can see how much of the plot is blocking itself to ensure things can’t move forward too quickly. There’s a whole episode of gosh-isn’t-this-tense tension that could have been eliminated if anyone in Starfleet pulled out a tricorder and used it as God intended. In this utopian future, where science and technology really are advanced enough to look like magic, why does nobody employ the tools hanging from their waistband? Mostly because Paramount ordered ten episodes, and ten episodes is what we’re going to give them. Another episode has a time-filling punch fight runaround because it’s now somehow impossible for a serving officer to use a Federation ship’s intercom system to call the bridge and warn them of impending danger.

Picard is one of those series where you often find yourself shouting at the screen as the next stupid moment unfolds in front of you. Even worse is that the show’s creative team seem to think that it’s us, the audience, who are deficient in the thinking department. There is scene after scene in which characters repeat the same lines back to each other because the crew assume we’re not paying attention. Because of the limits on spoilers, I’ve re-written a scene to match the sentiment, if not the words verbatim, so you can get a sense of what to expect:

CREW 1: The ship is being pulled closer to the black hole’s gravity well.

CREW 2: We do not have enough power to pull ourselves away, sir.

RIKER: Are you saying that we’re dead in the water?

CREW 1: We will be passing the black hole’s event horizon in 17 minutes.

RIKER: We’re dead in the water and we’re sinking.

PICARD: We’re going to be dead in 17 minutes, Will, unless we can find a way to solve this.

RIKER: We’re sinking into quicksand, and there’s no time to grab a helping hand.

The irony is that this run is so thicket-dense with references that the show basically assumes that you’ve already seen pretty much everything produced during Trek’s gold, silver and bronze ages. But, to make sure nobody’s left behind, everyone has to speak in exposition so hamfisted that, now that this is over, I think Michelle Hurd deserves personal injury compensation. Raffi gets saddled with so many cringe-inducing lines where she states, and restates and re-restates the obvious that I started grasping fistfuls of my own hair to relieve some of my discomfort.

And as for the storyline, what can I say? It’s clear that Alex Kurtzman is only comfortable writing in a single register. His go-to is usually a militaristic, testosterone-fuelled paranoid Reaganite fantasy in which the real villain was our own government all along. He did it in Into Darkness, Discovery season two and even the first season of Picard – to the point where Starfleet is now so lousy with double agents that all of their schemes fail because the saboteurs are all too busy sabotaging each other’s plans instead of that of the wider Federation.

If Picard is nothing else, it’s nearly pornographic in its use and misuse of franchise iconography. I always felt that Jeff Russo’s Picard theme sounded more like the library music for a corporate advert than the makes-your-heart-soar theme a Star Trek deserves. And here, it’s been ditched in favor of Jerry Goldsmith’s sumptuous, nectar-for-the-ears score for First Contact. The first title card is a direct pull from Wrath of Khan, and pretty much every element therein is an elbow to the ribs, reminding you of older, better Star Trek movies and TV series.

An early scene has a character “hijacking a starship” under false pretenses while it’s in spacedock. You know, the mushroom-shaped megastation orbiting Earth from The Search for Spock onwards. And because we’re already going beat-for-beat for a sequence xeroxed from 1984, said starship even jumps to warp as soon as it’s past the exit doors. Despite the fact that the sort of hardcore Trek fans who would spot the reference would also note that you’re not meant to jump to warp while inside a solar system when there’s no urgent need to do so.

I’ll admit, this is postgraduate degree-level Star Trek nerdery, but you can’t have it both ways: If you’re trying to placate hostile viewers with the excessive fan service, you can’t then complain when they point out that you’re doing it all wrong.

The show’s teaser trailer already revealed we’re getting an overstuffed roster of villains to round out the run. Amanda Plummer’s captain of an enemy ship that shares a design with the Narada from Star Trek ‘09. Then there’s Daniel Davis’ holographic Professor Moriarty, as well as Data’s evil twin brother Lore. Both of these sorta make sense in the context, but there’s a hell of a lot of narrative scaffolding to explain away the fact that Brent Spiner is now 74 years old. (The dude looks good for it, but it’s hard to play an ageless android when time marches on and the de-aging CGI budget is spent on smoothing out Patrick Stewart’s face for a single flashback and the pointless needle-drops that open every episode.)

Now, before you scurry off to Memory Alpha to confirm that Moriartywas locked away in a holobox at the end of “Ship in a Bottle,” and Lorewas disassembled at the end of “Descent Part 2,” yes, they were. Try to remember that showrunner Terry Matalas and executive producer Alex Kurtzman treat Star Trek’s continuity less as something which informs storytelling and more as a series of shiny objects to keep us all amused when the plot sags or anyone has any time to think about what’s going on.

I’ll also add that the trailers and promotional material have very intentionally kept a lot of material back. There are more classic-era heroes and villains crowbarring their way into the story in the way that, if it were fanfiction, would seem excessive. But, if I’m honest, the second or third time someone, or something, familiar popped up, I wasn’t whooping and cheering, I was sighing. The Star Trek universe is vast and broad and deep, but Picard makes it feel like a puddle where everyone knows each other, and everyone under the age of 30 has grown up watching The Next Generation. If you’re serving in the US Navy, for instance, how likely is it that you’d know the ins and outs of every exploit of even the most well-traveled combat vessel?

Now, I don’t have the language or experience to discuss this properly, and I’m aware of others who do feel differently. This is just my opinion, but I think the depiction of drug and alcohol use in Picard has always felt off. And since I can’t talk about the third season, I’ll talk about the first, where something very similar happened and is just as vexing here as it was back then. Raffi deals with her son’s rejection by relapsing, but then mere hours later, she’s back at her station and advancing the plot. I don’t recall a sense that her use clouded her judgment and I don’t think it was discussed subsequently – so despite the portentiousness in the build-up, it was depicted almost like someone just having a bad day and knocking back some drinks. I’m not saying that’s a bad thing, because there are plenty of people who use drugs and it doesn’t impact their professional lives at all. (Read any Making-Of book about The Original Series and you’ll notice how more than a few references to the production team’s drug use.) But if you’re going to write a plot where scenes hang on the will-she-or-won’t-she tension of relapse, but it all turns out to be hunky dory straight after, what was the point of depicting any of this in the first place?

Then there’s the violence, and the casual way that it’s doled out, especially in the show’s numerous interrogation scenes. I’m not advocating for forced confessions, but given Starfleet’s advanced science, and the Federation has a planet of literal telepaths at its disposal, why are we always punching people in the nose with a butt of a phaser pistol? I mean, I know why: It’s a nerdy sci-fi show play acting as a muscular basic-cable drama, but that doesn’t mean it works. I’ve often theorized that many modern-day Star Trek creators would much rather be over the hall making their own Star War instead. Maybe I’m wrong, and the Picard crew is really nostalgic for the hamfisted Bush-era politics of 24.

Image of Amanda Plummer and some aliens in a dark corridor in an unnamed location during 'Star Trek: Picard's third season
Trae Patton / Paramount+

It was always going to be hard to pull Picard out of its creative slump that started back when the show was greenlit. If there was ever a character who we’d seen grow, change, mature and treat his own life with more kindness, it was Jean-Luc Picard. Some of TNG’s best episodes forced Picard to consider his own life, his history, his mortality, his motives, including the series’ grand finale. “All Good Things” isn’t just good Star Trek, it’s one of the best series finales ever made, encompassing the entire breadth and depth of The Next Generation in one glorious sweep. And between seven years of TV and four less essential but still important movies, he was done.

I wrote somewhere, I forget where, that a smarter idea would have been to center the action on a less-well served member of the Enterprise D crew. I’d have been second in line to watch a Geordi LaForge spin-off (behind uber fan Rihanna, of course), and there’s plenty to explore there. Or a Beverley Crusher spin-off, as she solves people’s problems as a simple country space doctor back on Earth or on some far-flung planet. Maybe a sci-fi version of In Treatment fronted by Marina Sirtis could have worked, and would have certainly cost less than this.

All of which would be preferable to what we got, which despite initially having a Pulitzer Prize-winning novelist at the helm, was two years of go-nowhere, do-nothing bore-a-thons. Its brief moments of cleverness drowned out by the baffling character decisions, tin-eared dialog and ligneous acting. And both had plots which would have struggled to fill a movie stretched out across a painfully slow ten hour runtime.

And that’s before we get to the moralizing, which had characters pointing at a bad thing and saying “thing bad.” I don’t think the second season’s 26 percent rating on Rotten Tomatoes is because the (inexplicably) conservative wing of Trek fandom was outraged that a show about happy space communists solving problems while remaining friends suddenly “got woke.” Good, old-fashioned Star Trek at least had the good grace to cloak its progressivism in allegory that could slide past the otherwise closed minds of some of its viewers. By comparison, Picard felt like the first draft of a high school theater production made the term after the teacher had explained agitprop.

Maybe that’s why I feel so annoyed by Picard, because all of the things that are wrong with the show, and its kin, are examples of amateurishness. Amateurish plotting, amateurish dialogue, a lack of thoughtfulness about the material, what it says, or what it’s doing. Just an endless parade of big, dumb, brash, po-faced melodrama used in place of some sort of maturity or integrity. I don’t expect Star Trek to be brilliant all the damn time, but I do expect a minimum standard of something to be upheld. And this falls so far below it, it’s hard to call it Star Trek. Some people will call that gatekeeping, but Star Trek can be anything it damn well wants to be, so long as it’s competently made and halfway entertaining. 

The constant callbacks got me thinking about the period when Nicholas Meyer was, directly or indirectly, the major creative force behind Star Trek. It’s been 32 years since his 1991 swansong, The Undiscovered Country, and it remains a high-water mark of cinematic Trek. Drawing to a close the story of The Original Series crew, Meyer didn’t go for nostalgia, but savaged his characters, exposing their flaws, their bigotries, their failings. There was redemption, and heart, and it never needed Meyer to stage endless close-quarters phaser-fu fights in unlight rooms.

But that was a filmmaker with a clear vision, and the good graces to really drag his characters in the dirt before washing them clean. Imagine what would happen if Picard encountered any of the same level of subtext – they’d probably spend an hour running from it before beating it over the head with the butt of a phaser rifle and then spend the next hour feeling glum about it. If nothing else, I’d say don’t even watch Picard for ironic kicks, lest Paramount think it’s somehow a runaway hit and continue to produce crap like this.

Engadget is a web magazine with obsessive daily coverage of everything new in gadgets and consumer electronics

Rocksmith+ launches next week, and it’ll cost you at least $100 a year

The RockSmith+ subscription service can help you learn how to play guitar for a monthly fee.
Android | Digital Trends

Peloton’s huge loss highlights how hard it’ll be to turn things around

Peloton has posted a heavy quarterly loss for the first quarter, indicating that it has a lot of work to do in order to correct course. The company made a net loss of $ 757.1 million in the first three months of the year (Q3 of Peloton's 2022 fiscal year). Not only was that a worse result than expected, it's a massive decrease from the $ 8.6 million loss it posted for the same period in 2021.

Revenue dropped from $ 1.262 billion a year ago to $ 964 million. Operating expenses, meanwhile, grew by 101 percent year-over year to $ 920 million. Peloton says those represented 95.4 percent of total revenue for the quarter, compared with 36.3 percent a year earlier.

One of the company's biggest challenges has been handling its stockpile of connected fitness equipment in the wake of a sales decline as more people return to office life. "We have too much [inventory] for the current run rate of the business, and that inventory has consumed an enormous amount of cash, more than we expected, which has caused us to rethink our capital structure," CEO Barry McCarthy, who took on the job in February, wrote in a letter to shareholders. "We believe the inventory will sell eventually, so this is primarily a cash flow timing issue, not a structural issue."

Around the time McCarthy was appointed, Peloton announced it would cut 2,800 jobs, or around 20 percent of the corporate workforce. Rumors swirled in February that the company was an acquisition target for several suitors, with the likes of Amazon and Nike said to be interested.

Although it won't be easy for the company to get back on track, Peloton at least has a plan to turn things around. It aims to return to positive free cash flow in its 2023 fiscal year.

Last month, it announced an upcoming increase to subscriptions along with price cuts for many of its connected fitness machines. There are several reasons why Peloton is banking more heavily on subscriptions. For one, subscription revenues rose by 55 percent year-over-year to $ 369.9 million. The company now has 7 million members, and McCarthy has a long-term goal of reaching 100 million. "Our users are highly engaged, and our subscriber churn rate is less than 1 percent, which is the best I’ve seen," McCarthy, a former Netflix and Spotify executive, said.

McCarthy said the pricing changes could help the company deliver "roughly $ 40 million of incremental revenue monthly." The increased cost of the All-Access plan doesn't kick in until June 1st, but McCarthy says there's only been a small increase in user attrition and the move will generate an extra $ 14 million in revenue each month if that level of churn holds.

Cutting prices on some hardware models has led to a 69 percent increase in daily unit sales too. So far, that move has increased revenue by $ 25 million per month. The company also plans to keep testing a program that will combine an All-Access subscription plan with rentals of its equipment.

McCarthy noted that Peloton is revamping its workforce as it shifts from a hardware- to a software-focused company. The recent job cuts factor into the company's plan to increase annual run-rate savings to at least $ 800 million by its 2024 fiscal year. It also signed a binding commitment letter to borrow $ 750 million in five-year term debt from JP Morgan and Goldman Sachs.

Meanwhile, Peloton says more than half a million users have tried Lanebreak, its first gamified workout, on Bike and Bike+. The company expects to lean "more into gaming content in response to the success of Lanebreak."

Engadget is a web magazine with obsessive daily coverage of everything new in gadgets and consumer electronics

Best Buy has canceled your Galaxy Fold preorder, and we still don’t know when it’ll be back up

Samsung announced the Galaxy Fold to a ton of fanfare and media hype, but not long afterwards the hype train came to a screeching halt. Broken and malfunctioning displays, indefinite delays, and unanswered questions all made it hard to really count on when you could buy a real Galaxy Fold. Things still aren’t really any […]

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If this OnePlus 5 teaser is real, it’ll resemble Apple’s iPhone 7 Plus

It’s likely the OnePlus 5 debuts sometime early this summer, meaning we’re just weeks away from seeing a new high-end phone on the scene. Teasers and reports, though, are giving us information early. And the latest leak involves the phone’s design. The 2017 flagship from OnePlus could end up looking a lot like the Apple […]

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Xiaomi is making its own mobile processor, and it’ll be revealed on February 28

Xiaomi will follow in Samsung, Apple, and Huawei’s footsteps and break away from Qualcomm by developing its own mobile processor. The chip, known as Pinecone, will launch on February 28.

The post Xiaomi is making its own mobile processor, and it’ll be revealed on February 28 appeared first on Digital Trends.

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