New 3D computer simulations from ETH Zurich show that young rift flanks on Venus stay tall and steep, while older ones flatten out over time.
The post Giant Rift Valleys Hint Venus is Still Tectonically Active appeared first on Sci.News: Breaking Science News.
The Morning Show Season 5 will officially conclude one of the longest-running and most recognizable dramas on Apple TV when it premieres in 2027.
Apple confirmed that the fifth season will be the last, allowing Jennifer Aniston, Reese Witherspoon and the creative team to complete the stories of Alex Levy, Bradley Jackson and the troubled journalists surrounding their fictional television network.
Aniston and Witherspoon will return as stars and executive producers. Both indicated that the ending was planned while the season was being developed, giving the writers an opportunity to create a deliberate conclusion rather than leaving the characters suspended after an unexpected cancellation.
Apple has not announced a specific premiere date or episode schedule. The company has released first-look images featuring Aniston and Witherspoon together, confirming that production on the final chapter is moving forward for a 2027 arrival.
The Morning Show Season 5 was originally announced in September 2025, shortly before the fourth season premiered. At the time, Apple presented the renewal as another chapter for an established global hit without indicating that it would end the series.
The decision to identify it as the final season changes the expectations surrounding every storyline. Rather than creating another crisis that could lead into a sixth season, the writers can determine where the central characters belong after years of professional upheaval, corporate conflict and personal compromise.
Showrunner Charlotte Stoudt suggested that the final episodes will examine what the journalists ultimately choose for themselves. That direction fits a series in which success has rarely provided its characters with stability or satisfaction.
Alex and Bradley began the drama from sharply different positions. Alex was an established television personality attempting to protect her career during a public scandal, while Bradley entered the network as an unpredictable outsider. Their relationship developed through rivalry, loyalty, separation and repeated confrontations with the institutions employing them.
The final season can now treat those ambitions as completed journeys rather than temporary stages. Alex must decide what remains worth defending after years of negotiating with executives, billionaires and political interests. Bradley must determine whether pursuing the story at any personal cost remains sustainable.
Season four moved the drama into a media environment shaped by deepfakes, conspiracy theories, corporate influence and uncertainty over what audiences can trust. Its story continued examining how journalism operates when the network reporting the news is also affected by commercial priorities and internal power struggles.
Apple has not disclosed the central subject of Season 5. The first-look images concentrate on Aniston and Witherspoon, placing their complicated partnership back at the center after a fourth season that separated the characters through an international crisis.
The Morning Show debuted on November 1, 2019, the same day Apple launched its streaming service.
Its position in the original lineup made the series more than another drama acquisition. Apple needed recognizable performers and an ambitious production capable of signaling that the new platform intended to compete for major television audiences and awards.
Aniston and Witherspoon provided immediate visibility, while the newsroom setting allowed the series to respond to current debates involving workplace misconduct, corporate accountability, political polarization and the influence of television journalism.
The first season began after allegations against morning-show anchor Mitch Kessler, played by Steve Carell, forced the network to restructure its leading program. Alex attempted to retain control while Bradley was selected as an unconventional replacement capable of changing the tone of the broadcast.
Later seasons expanded far beyond the original scandal. The drama incorporated the COVID-19 pandemic, a technology billionaire attempting to acquire the network, the merger of UBA and NBN, artificial intelligence, misinformation and international political pressure.
The willingness to move quickly into recognizable real-world subjects became part of the identity of The Morning Show. Its fictional network frequently operated only a short distance from controversies affecting actual media companies, public figures and technology platforms.
The approach sometimes pushed the series toward heightened melodrama, but that excess also distinguished it from a conventional workplace production. Executive decisions, personal betrayals and breaking-news events could carry the intensity of a political thriller.
Billy Crudup became one of its most acclaimed performers as Cory Ellison, the charismatic executive whose enthusiasm for disruption regularly concealed more complicated motives. Crudup won two Emmy Awards for the role and will return for the final season.
Apple executives have described the production as a defining part of the streaming service. Ending it after five seasons closes a direct connection to the original Apple TV launch lineup while allowing the platform to preserve the series as a completed story.
The final season will bring back Aniston, Witherspoon, Crudup, Mark Duplass, Nicole Beharie, Nestor Carbonell, Karen Pittman and Jon Hamm.
Hamm joined the series as Paul Marks, a technology billionaire whose business ambitions and relationship with Alex reshaped the third season. His continued presence indicates that the consequences of his involvement with the network have not been fully resolved.
Several new performers will enter the drama for its last run. Apple has assembled additions including Jeff Daniels, Reneé Rapp, Jesse Williams, Sean Hayes and Lizzy Caplan, although complete character details remain limited.
Daniels brings a particularly appropriate history to the production after starring as news anchor Will McAvoy in The Newsroom. His presence creates an immediate association with another television drama concerned with journalism, newsroom ethics and the conflict between ratings and public responsibility.
Rapp returns to a major television role after building her music career and appearing in projects including The Sex Lives of College Girls and Mean Girls. Williams previously spent more than a decade on Grey’s Anatomy, while Hayes is best known for Will & Grace and has expanded into dramatic work.
Caplan has moved between comedy, drama and thrillers through projects including Masters of Sex, Fleishman Is in Trouble and Fatal Attraction. The scale of the additions suggests that the final season will introduce another major institutional or professional conflict rather than concentrating exclusively on farewell scenes.
Stoudt remains showrunner and executive producer. Mimi Leder continues as director and executive producer, while Media Res, Echo Films and Hello Sunshine remain behind the production.
Aniston described the opportunity to finish the story knowingly as a way to honor the characters with intention. Witherspoon emphasized that the series was never only about the personalities appearing on television, but also about the role of journalism and the people responsible for protecting the press.
That theme gives the final season a defined destination. The Morning Show began by asking whether a television institution could survive the misconduct it had protected. Its last episodes can decide whether the journalists inside that institution changed it, escaped it or became part of the machinery they once believed they could challenge.
The post The Morning Show Season 5 Will End the Apple TV Drama appeared first on AppleMagazine.
The billionaire says the AI-generated film will stay true to Homer’s original, after repeatedly criticising Christopher Nolan’s blockbuster over its casting choices
Elon Musk has said his AI platform Grok Imagine will make a “historically accurate” adaptation of Homer’s Odyssey, after the success of Christopher Nolan’s blockbusting treatment which the SpaceX founder has regularly criticised over its casting.
In a post on X, Musk said: “Before this year ends, Grok Imagine will make a full-length movie of The Odyssey that is historically accurate and true to the art of Homer.” Musk also linked to a post containing a three-minute clip of footage that the user said had been generated from Grok Imagine, showing a scene between Odysseus and the nymph Calypso.
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© Photograph: Melinda Sue Gordon/Universal Pictures
© Photograph: Melinda Sue Gordon/Universal Pictures
© Photograph: Melinda Sue Gordon/Universal Pictures
Primeira série original lançada globalmente pelo Apple TV, “The Morning Show” chegará ao fim com sua quinta temporada, conforme anunciou hoje o serviço de streaming da Maçã em comunicado para a imprensa.
O retorno da produção, que conta com Reese Witherspoon e Jennifer Aniston como protagonistas e produtoras executivas, está marcado para o ano que vem, com boa parte do elenco já conhecido e algumas adições.
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Retornarão Billy Crudup, Mark Duplass, Nestor Carbonell, Karen Pittman, Greta Lee, Nicole Beharie e Jon Hamm. Jeff Daniels, Reneé Rapp, Jesse Williams, Sean Hayes, Lizzy Caplan e outros nomes chegarão para completar o time.
Ao longo de suas quatro temporadas, “The Morning Show” já foi indicada a diversas premiações (vencendo algumas delas) e debateu temas como a pandemia de COVID-19 e assédio, tendo como pano de fundo os bastidores do telejornalismo.
Além das protagonistas, Charlotte Stoudt (também showrunner), Mimi Leder (também diretora), Michael Ellenberg, Lauren Neustadter, Kristin Hahn, Zander Lehmann e Micah Schraft serão produtores executivos.
O Apple TV está disponível no aplicativo Apple TV em mais de 100 países e regiões, seja em iPhones, iPads, Apple TVs, Macs, dispositivos Android, smart TVs ou online — além de também estar em aparelhos como Roku, Amazon Fire TV, Chromecast com Google TV, consoles PlayStation e Xbox. O serviço custa R$29,90 por mês, com um período de teste gratuito de 7 dias. Por tempo limitado, quem comprar e ativar um novo iPhone, iPad, Apple TV ou Mac ganha 3 meses do Apple TV. Ele também faz parte do pacote de assinaturas da empresa, o Apple One.
NOTA DE TRANSPARÊNCIA: O MacMagazine recebe uma pequena comissão sobre vendas concluídas por meio de links deste post, mas você, como consumidor, não paga nada mais pelos produtos/serviços usando os nossos links de afiliado.
O Apple TV divulgou o trailer de “A Dinastia — UConn Huskies” (“The Dynasty: UConn Huskies”), sua nova série documental que narra a trajetória de 40 anos do renomado programa de basquete feminino da Universidade de Connecticut (UConn) sob o comando do técnico Geno Auriemma, membro do Hall da Fama.
A produção, dividida em três partes, estreará mundialmente no dia 21 de agosto (uma sexta-feira).
Twelve championships don't happen by accident. Go inside one of college basketball's most prestigious programs.
— Apple TV (@AppleTV) July 17, 2026
The Dynasty: #UConnHuskies — August 21 on Apple TV pic.twitter.com/noP5RuttEl
“The Dynasty: UConn Huskies” narra a ascensão do programa mais dominante na história do basquete universitário nos Estados Unidos. Com entrevistas exclusivas com a equipe campeã nacional de 2025 e participações de figuras do basquete da UConn, a série explora a busca pela excelência, as expectativas que acompanham o sucesso duradouro e as pessoas que mantiveram esse padrão ao longo das gerações.
A série reflete sobre o legado que construiu o programa e oferece um olhar raro de bastidores sobre as jogadoras que dão continuidade a essa história, por meio de conversas aprofundadas com técnicos, atletas, ex-jogadoras, rivais e jornalistas de várias gerações do basquete da UConn, incluindo KK Arnold, Auriemma, Sue Bird, Paige Bueckers, Jim Calhoun, Swin Cash, Chris Dailey, Mickie DeMoss, Jana El Alfy, Jamelle Elliott, Azzi Fudd, Jeff Goldberg, Sally Jenkins, Steve Kerr, Rebecca Lobo, Jackie MacMullan, Maya Moore, Alexa Philippou, Shea Ralph, Semeka Randall, Jennifer Rizzotti, Breanna Stewart, Sarah Strong, Diana Taurasi e Tamika Williams-Jeter.
Com direção e produção executiva de Matthew Hamachek (vencedor do Emmy) e Erica Sashin (indicada ao Emmy), “The Dynasty: UConn Huskies” também conta com Jesse Sisgold, Jason T. Reed, Jon Weinbach, Lauren Gaffney, Lindsay Kagawa Colas, Grant Jones, Jon Liebman e Zoe Rogovin como produtores executivos.
O Apple TV está disponível no aplicativo Apple TV em mais de 100 países e regiões, seja em iPhones, iPads, Apple TVs, Macs, dispositivos Android, smart TVs ou online — além de também estar em aparelhos como Roku, Amazon Fire TV, Chromecast com Google TV, consoles PlayStation e Xbox. O serviço custa R$29,90 por mês, com um período de teste gratuito de 7 dias. Por tempo limitado, quem comprar e ativar um novo iPhone, iPad, Apple TV ou Mac ganha 3 meses do Apple TV. Ele também faz parte do pacote de assinaturas da empresa, o Apple One.
NOTA DE TRANSPARÊNCIA: O MacMagazine recebe uma pequena comissão sobre vendas concluídas por meio de links deste post, mas você, como consumidor, não paga nada mais pelos produtos/serviços usando os nossos links de afiliado.
AppleCare+ pricing has gone up for new Mac and iPad customers, adding another small cost increase to the Apple ownership equation. According to Bloomberg, Apple has raised monthly and annual AppleCare+ rates for new Mac and iPad plans, with the change applying to new coverage rather than existing plans already active on customer devices.
The increase is modest on paper. Reports indicate Apple has raised monthly AppleCare+ rates by 50 cents and annual plans by $5 for affected Mac and iPad products. For example, AppleCare+ for the 13-inch MacBook Air is now listed at $7.99 per month or $79.99 per year, up from $7.49 per month and $74.99 per year. The Mac mini now starts at $4.49 per month or $44.99 per year, while the 16-inch MacBook Pro costs $15.99 per month or $159.99 per year.
The numbers are not dramatic alone. The context is harder for buyers. Mac and iPad prices have already been under pressure from component costs, financing changes and longer upgrade cycles. AppleCare+ is optional, but for many customers buying expensive laptops and tablets, it is part of the real purchase price.
AppleCare+ pricing is one of those costs many buyers do not fully consider until checkout. The device price gets attention first. Then come storage upgrades, cellular connectivity, keyboard accessories, Apple Pencil, taxes, financing, software subscriptions and protection coverage.
For a MacBook Air, an extra 50 cents per month may not change the decision. For a MacBook Pro, iPad Pro or a family buying multiple devices, the increases add up over time. Annual plans rising by $5 also signal that Apple is comfortable nudging protection costs higher even when the change is small enough to avoid a major backlash.
AppleCare+ remains valuable for users who carry devices daily or depend on them for work. Macs and iPads are portable, expensive and often used in places where accidents happen: classrooms, coffee shops, airports, offices, studios, kitchens and family rooms. A cracked iPad screen or damaged MacBook display can be expensive without coverage.
Apple’s pitch is convenience as much as insurance. AppleCare+ includes priority support, battery service when capacity drops below Apple’s threshold, and reduced service fees for accidental damage. For iPad, AppleCare+ can also cover Apple-branded keyboard accessories and Apple Pencil damage under service-fee terms.
That makes the plan attractive. It also makes the higher price easier for Apple to defend.
The latest increase applies to new Mac and iPad AppleCare+ customers. Existing customers with active plans are not the immediate target of the reported change. That distinction helps Apple avoid angering subscribers who already signed up at previous rates, while still lifting revenue from new device buyers.
This approach fits Apple’s broader shift toward recurring coverage. Apple has been moving AppleCare+ further into monthly and annual subscription-style plans, with AppleCare One offering a bundled option for multiple products. The protection plan is no longer only a one-time add-on at purchase. It is increasingly part of Apple’s services layer.
That matters because Apple’s services business depends on recurring payments. AppleCare+ may not get the same attention as iCloud, Apple Music or Apple TV, but it is another way Apple extends the customer relationship beyond the hardware sale. A Mac or iPad purchase becomes not only a device transaction, but also a support and repair subscription.
The price increase strengthens that pattern. A small rise across a large base of new buyers can support services revenue without changing the product lineup.
Mac buyers now have more reason to compare AppleCare+ options before adding coverage. Apple’s Mac plans vary by model because repair risk and device cost vary. A Mac mini plan starts lower because the device is stationary and less likely to face drops or screen damage. A 16-inch MacBook Pro costs more because it is a high-value portable machine with expensive components.
For a buyer choosing a MacBook Air, AppleCare+ may be easier to justify if the laptop travels daily. Students, journalists, consultants, photographers, editors and business travelers are more exposed to accidental damage than someone who leaves a Mac mini on a desk.
For MacBook Pro buyers, the decision often depends on work dependency. If the Mac is the primary income tool, AppleCare+ can be less about repair math and more about reducing downtime. Access to Apple support and lower repair costs can be worth the subscription if the device is central to daily work.
Still, users should compare the plan cost with their own risk. A careful desktop Mac user may not need the same coverage as a frequent traveler. AppleCare+ is useful, but it should not be automatic for every buyer.
iPad AppleCare+ has its own logic because iPads are more physically exposed than Macs in many homes. They are passed between family members, used by children, carried around the house, taken to school, placed in bags and paired with accessories that raise the total cost of ownership.
For iPad Pro and iPad Air buyers, AppleCare+ can make sense because screen repairs and accessory damage can be costly. Apple’s current AppleCare+ terms for iPad include service fees for screen damage, other accidental damage and covered accessories. That can make the plan appealing for users who buy Magic Keyboard, Apple Pencil Pro or a high-end iPad Pro.
The decision becomes more complicated for entry-level iPad buyers. A lower-cost iPad may not justify years of coverage for every user, especially if it stays mostly at home. Families, however, may see the protection differently. An iPad used by children faces more risk than a laptop used carefully by one adult.
The new pricing does not change the core question. It makes the answer slightly more expensive.
AppleCare One gives Apple another way to soften individual plan increases. The bundle starts at $19.99 per month for up to three eligible products, with additional devices available for $5.99 per month each. It includes AppleCare+ benefits and adds theft and loss coverage for eligible iPhone, iPad and Apple Watch products.
For users with only one Mac or one iPad, AppleCare One may not be the best fit. For users with multiple devices, it can become more attractive as individual plans rise. A person with an iPhone, iPad and Mac may compare three separate AppleCare+ plans against the bundle and find the monthly difference easier to justify.
That is likely part of the strategy. Apple can raise individual plan prices modestly while giving heavier ecosystem users a bundled option. The company has used similar logic across services with Apple One, where the value increases as users subscribe to more Apple products.
The same principle now applies to protection. The deeper a customer is inside Apple’s hardware ecosystem, the easier it becomes to turn support coverage into a monthly bundle.
AppleCare+ pricing increases may be small, but they arrive during a period when Apple is asking customers to absorb more costs across the ecosystem. Device prices, component pressure, cellular financing, AI hardware demands and service subscriptions all affect the total ownership picture.
The AppleCare+ change fits that pattern. Apple is not dramatically changing the service. It is raising the price slightly while keeping the value proposition intact: lower repair costs, battery service, accidental damage coverage and Apple support.
For buyers, the best response is not panic. It is math. Compare the plan price with the device cost, repair risk, usage pattern and whether multiple Apple products would make AppleCare One more efficient. Someone buying a MacBook Pro for travel may want the protection. Someone buying a Mac mini for a desk may not. A family iPad may be a stronger candidate than a carefully handled personal tablet.
AppleCare+ remains a useful safety net. It is just a slightly more expensive one for new Mac and iPad buyers, and that makes the real cost of the device a little higher than the number on the product page.
The post AppleCare+ Pricing Rises for Mac and iPad appeared first on AppleMagazine.
As Christopher Nolan’s The Odyssey arrives in theaters, archaeologists working off the western coast of Greece say a real-life cult site devoted to the legendary story’s hero has been uncovered.
Local traditions had long told of a stony hilltop on the Greek island of Ithaca that had once been home to a shrine to Odysseus, the legendary Greek king of the isle and main protagonist in Homer’s famous poem.
Now, after close to two decades of archaeological work on the island that served as home to the fictional king in Homer’s epic literature, archaeologists say they have uncovered the most compelling evidence yet that a genuine historical cult site had existed there, dedicated to the famed hero of The Odyssey.
Researchers with the University of Ioannina recently revealed the discovery of new inscriptions and artifacts supporting the existence of a cult element devoted to Odysseus, uncovered at the ancient complex at Agios Athanasios, which had been a public sanctuary devoted to the worship of Homer’s famous hero during the Hellenistic and early Roman periods.
According to a statement released by the Greek Ministry of Culture, the building complex is characterized by a series of robust structures located on terraces, which involve several monumental elements featuring carved architecture and niches for what appear to have been votive offerings or inscriptions, all of which point to its use as a cult site.
Yannos Lolos, one of the project’s lead archaeologists, recently told ArtNet that the site’s role was revealed partially through a reexamination of existing materials found there, which helped reveal what he calls “new and strong inscriptional evidence” linking the site to Odysseus.
Among the most important discoveries at the site were a small bronze bust of Odysseus dating to the first or second century C.E., as well as a roof tile fragment which bore an inscription that reads, “to Odysseus.”
However, an even more compelling discovery involved a second stamped roof tile inscribed with the hero’s name but appearing in the Greek genitive case; this is significant, since it indicates ownership, thereby identifying the sanctuary as “belonging” to Odysseus.
Based on current evidence, organized cult worship is believed to have begun at the site by around the late fourth century B.C.E., which places its use at around 500 years after Homer composed his famous epic poem, and almost a full millennium after the legendary events the epic describes.
The physical sanctuary itself was built onto a massive natural rock formation, and remnants of the ancient structure include a primary tower, a large oblong building, and terraces which were carved directly into the underlying bedrock.
Excavations over the last several years have also revealed the site’s deeper history, which points to evidence of earlier Mycenaean occupation during the 13th and 14th centuries B.C.E., at which time the site had likely served as a strategic center overseeing nearby harbors and local water resources.
In a statement, the Greek Ministry of Culture said the two new engravings arrives “in combination with the other available data, to document the development of a prominent public complex at the site,” which it said help to establish the “major role in the religious, social and possibly political life of the Ithacians of the Hellenistic-early Roman periods, but also with a broader pilgrimage character.”
The recognition of this ancient cult site only adds to the existing evidence that already supported worship of Odysseus on Ithaca. Past discoveries have revealed ancient coins depicting the hero, found near ritual offerings at Ithaca, which were also linked to cult activities. However, the identification of the sanctuary offers the most conclusive archaeological evidence to date that Homer’s legendary hero had been the cult’s focus.
Of course, these discoveries fall short of establishing Odysseus as a true historical figure, and most scholars agree that Odysseus was a fictional character born out of traditions that incorporated real places and events into their broader mythos.
However, in at least a few instances, the lines between myth and ancient history have been blurred—a famous example being Heinrich Schliemann’s identification of a site (originally discovered by British amateur archaeologist Frank Calvert, with his identification of the mound of Hisarlik) which helped reveal the archaeological reality behind the city of Troy, which had previously been considered a mythical location.
It was also reported last year that an archaeological discovery resembling the “labyrinth” from Greek mythology had been uncovered on Crete, in a discovery some have called “one of the most important archaeological finds” of the century.
Although the discoveries at Ithaca don’t establish Homer’s Odysseus as a historical figure in this way, they do confirm that centuries after The Odyssey was composed, inhabitants of Ithaca engaged in cult activities to honor the legendary king at a sanctuary on the island, which, according to legend, he once ruled.
Additional details about the site and discoveries made there in recent years can be found at the Greek Ministry of Culture website.
Micah Hanks is the Editor-in-Chief and Co-Founder of The Debrief. A longtime reporter on science, defense, and technology with a focus on space and astronomy, he can be reached at micah@thedebrief.org. Follow him on X @MicahHanks, and at micahhanks.com.
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