Apple’s record stock performance leads into a discussion of Vision Pro and John Ternus’ explanation of its long-term potential. The MacVoices Live! panel considers spatial computing’s growing role in medicine, productivity, and professional workflows, along with whether the technology is ready for broader adoption. They also examine iPhone battery shipping limits, SoftRAID 9's support of RAID 6, and local versus cloud storage.
La circulation du virus du Nil occidental, ou West Nile, bat des records cette année, non seulement les cas humains ont explosé, mais sa présence s'est étendue sur de nouveaux territoires métropolitains, de même qu'en Europe. Quelles sont les causes de cette hausse : climat, mutation du virus ou...
Face à un SMS frauduleux, le réflexe immédiat consiste à ne jamais cliquer sur le lien, à transférer le message au 33700, puis à bloquer l’expéditeur avant de supprimer la conversation. Cette arnaque, appelée smishing, exploite l’urgence et l’usurpation d’identité pour voler des données...
Avast One Premium ne se limite pas à bloquer les virus : la suite ajoute un VPN, des outils de confidentialité et plusieurs protections pour sécuriser les usages quotidiens.
Encore trop peu connue, la choline est un nutriment essentiel au bon fonctionnement de l’organisme, et ce, dès la vie in utero. Indispensable au développement du cerveau, elle joue aussi un rôle clé dans la mémoire, l’humeur ou encore la santé du foie. Pourtant, la majorité de la population n’en...
New research led by University of the Witwatersrand and University of Southern California paleoanthropologists sheds more light on one of the most debated transitions in human evolution: when our ancestors stopped regularly climbing trees and committed fully to walking on two legs.
iPhone 18 Pro is at the center of What Holds Us, a new photography exhibition built around three very different approaches to image-making. Alex Prager, Jack Davison, and Jimmy Chin shot the entire project on Apple’s latest Pro iPhone, using the device in environments ranging from a Los Angeles soundstage to a London warehouse and the high-altitude terrain of British Columbia.
Curated by Kathy Ryan, the former longtime director of photography for The New York Times Magazine, the exhibition examines connection through touch, shared experience, physical environments, and human relationships.
It also gives Apple a more ambitious showcase for the iPhone 18 Pro camera than a conventional product demonstration. Rather than presenting standardized comparisons or individual sample images. What Holds Us asks three established photographers to work within their own visual languages while using the phone as their sole camera.
The exhibition opens in New York City on September 18 and runs through September 20 before traveling to London and Shanghai in the coming months.
Image Credit: Apple Inc.
iPhone 18 Pro takes three very different photographic approaches
The project works partly because the three photographers have little stylistically in common.
Jimmy Chin took iPhone 18 Pro into the Bugaboo Mountains of southeastern British Columbia, working around snow, ice, steep climbing terrain, and winds reaching as high as 70 miles per hour.
His series focuses on trust and connection within climbing, with veteran mountaineer Conrad Anker appearing throughout the photographs. Some images place Anker as a small figure against vast mountain landscapes, while others move much closer to rock, snow, and glacial textures.
Chin used both the 48MP Fusion Ultra Wide and Telephoto cameras to shift between those extremes. The practical appeal was also straightforward: carrying a phone instead of a full conventional camera setup reduced the equipment required in an environment where weight and mobility affect every decision.
Jack Davison took almost the opposite approach. Shooting inside a former sugar warehouse in London, he created intimate portraits built around people interacting with clay and chalk.
Davison is known for high-contrast black-and-white imagery, and his contribution emphasizes texture, shadows, highlights, skin, and physical contact with the material. Some subjects appear partly covered in clay, while others manipulate it directly, leaving fingerprints and marks across the compositions.
For Davison, the smaller camera changed the relationship between photographer and subject. Without a large camera constantly positioned in front of his face, he could maintain more eye contact and work at closer range.
His use of slower shutter speeds, RAW capture, and multiple lenses also illustrates how Apple increasingly wants the Pro iPhone camera to function as a configurable photographic tool rather than simply a computational point-and-shoot system.
Alex Prager pushes the phone into large-scale production
Alex Prager’s section places iPhone 18 Pro inside a much more elaborate production environment.
Working on a Los Angeles soundstage, Prager created color-heavy scenes filled with crowds, confetti, staged city elements, costumes, and loosely choreographed movement. Some images use high viewpoints to turn groups of people into a continuous visual pattern, while tighter photographs isolate individual figures within the same constructed world.
The visual approach resembles film production more than spontaneous mobile photography, which gives the project another test for the phone. The camera has to preserve detail across numerous faces, costumes, props, highlights, and areas of movement while operating within scenes deliberately designed for large-format presentation.
Prager also treated the camera’s immediacy as part of the creative process rather than simply a convenience. The ease of moving between perspectives and capturing repeated moments allowed the scenes to evolve through improvisation instead of being locked into a single carefully prepared frame.
That approach aligns with a recurring theme across the exhibition: the phone becomes less intrusive without requiring the photographers to abandon their existing visual standards.
For Apple, it is a useful distinction. Professional photography campaigns built around smartphones can easily become exercises in technical proof, where the central question is whether a phone can imitate equipment already available to photographers. What Holds Us is more interested in how a smaller camera changes the way an artist works.
Image Credit: Apple Inc.
Variable aperture gives the project a new technical foundation
The exhibition arrives alongside one of Apple’s most significant physical camera changes in years.
iPhone 18 Pro introduces variable aperture on its 48MP Fusion Main camera. The lens can operate at ƒ/1.48, ƒ/1.8, ƒ/2.8, or ƒ/4.0, changing both light intake and depth of field.
A wider ƒ/1.48 aperture is designed for stronger low-light performance, while narrower settings can retain more detail across different planes of an image. Apple also lets photographers select aperture settings manually through new Pro controls in the Camera app.
Those controls extend to shutter speed and white balance, with a histogram available for monitoring exposure. ProRAW remains available for photographers who want greater flexibility during post-production.
The rear camera system also includes 48MP Fusion Ultra Wide and 48MP Fusion Telephoto cameras, providing focal lengths from 13mm at the wide end through an optical-quality 8x option.
What Holds Us does not reduce the exhibition to those specifications, but the technical changes help explain why Apple chose photography, rather than video, for this particular campaign. Variable aperture affects choices that photographers traditionally make during capture, especially around available light and how much of a scene remains in focus.
What Holds Us extends the Shot on iPhone idea
Apple has spent years using Shot on iPhone campaigns to demonstrate camera quality through finished work rather than charts and controlled tests. What Holds Us pushes that format closer to a conventional curated exhibition.
Ryan connects the three bodies of work through the idea of human presence, but each artist interprets it differently. Chin finds it through dependence between climbers in hostile landscapes. Davison uses physical contact between people and clay. Prager builds populated fictional environments in which individual expressions emerge from larger crowds.
The images therefore function as an exhibition first and a hardware showcase second, even though the production is closely tied to the launch of iPhone 18 Pro.
That balance may be the most effective part of the campaign. Apple does not need to demonstrate that a modern iPhone can produce a technically competent photograph. The more interesting challenge is showing where its smaller size, computational processing, lens flexibility, RAW workflow, and new manual controls can alter the photographer’s decisions.
New York visitors will get the first opportunity to see how those images hold up away from a phone or computer display when What Holds Us opens September 18. After its three-day New York run, Apple says the exhibition will continue to London and Shanghai, giving the iPhone 18 Pro photography project a physical life beyond the launch campaign.
Paleontologists have described a previously unknown species of mosasaur -- a group of extinct marine reptiles that patrolled Cretaceous seas alongside dinosaurs on land -- based on fossils unearthed in Egypt’s Dakhla Oasis.
Quelque 67 % des Français qui utilisent les réseaux sociaux passent plus de 5 heures par jour devant les écrans, selon le Baromètre du numérique 2025. Derrière ce chiffre, il y a des corps qui souffrent en silence : douleurs, yeux secs, nuits hachées… Votre organisme lance des signaux d'alarme...
Norton 360 Deluxe réunit antivirus, VPN, gestionnaire de mots de passe et sauvegarde cloud dans une seule formule pour cinq appareils, proposée actuellement à 39,99 €.
The GeForce RTX 5090 is the first thing that comes to mind when you think of the best graphics cards. However, you'd better pray the serial number on the inside of the metal bracket does not fade over time, since that could be a reason for Nvidia to reject warranty claims. At least one Redditor has shared a case of Nvidia reportedly denying a warranty claim because the bracket's serial number was unreadable.
The Redditor Willing-Avocado-4830, based in the UK, began experiencing black-screen crashes with a GeForce RTX 5090 Founders Edition graphics card under heavy load. The user sent the card to Nvidia for a warranty claim. After 30 days of radio silence, the owner finally received an email stating that their RMA request was rejected with no apparent explanation for the denial.
Seeking clarification, the user reached out to Nvidia for further information. According to the Redditor's recount, Nvidia support purportedly rejected the RMA because the serial number on the graphics card's metal bracket had faded. Like many gamers, Willing-Avocado-4830 claims never to have modified or tampered with the graphics card after installation. The fading serial number does not appear to be an isolated incident. Several other owners have reported similar issues in the Reddit discussion.
The metal bracket on graphics cards is susceptible to dust buildup, oxidation, and corrosion over time. This can cause it to look dirty, stained, or sometimes slightly discolored compared to when it was brand new. These same phenomena could have affected the serial number's legibility, especially since it is printed with ink onto the bracket's surface rather than etched for better durability. For comparison, the last-generation GeForce RTX 4090 Founders Edition had its serial number laser-etched onto the metal bracket.
One Redditor said that someone in the Nvidia Discord channel recommended cleaning the area with isopropyl alcohol to restore the serial number's visibility. However, that may not work if the ink is no longer present, as previous reports suggest the hot air expelled by the Founders Edition cooler could be erasing the serial number.
Surprisingly, Nvidia rejected a warranty claim solely because of a faded serial number on the graphics card’s bracket. The same serial number is clearly printed on a sticker on Nvidia's modular PCIe connector, which the chipmaker's technicians can verify when disassembling the GeForce RTX 5090. Moreover, you can pull the serial number from the graphics card through the command prompt with Nvidia SMI (System Management Interface), assuming the card is still working, which, in this case, it is. Willing-Avocado-4830 still had the original packaging and the original invoice from Nvidia U.K., so it would be easy to cross-reference the serial numbers.
Redditor hawok reportedly sent their GeForce RTX 5090 Founders Edition for RMA two months ago and encountered a similar situation. The serial number on the metal bracket was only partially visible. However, customer support seemingly accepted the RMA after the user sent photographs of the packaging that corroborated the serial number. It is unclear what Nvidia's policy is, or whether the chipmaker handles each case differently. We have reached out to Nvidia for clarification.
Some Redditors have suggested taking a photograph that shows the graphics card's serial number next to the packaging's serial number. Others jokingly recommend putting a piece of tape over the serial number. It might not be a bad idea, but you would need heat-resistant tape, something like Kapton tape.
GeForce RTX 5090 stock has practically disappeared from the U.S. market, with very few units starting at $6,500, 3.25X over the Blackwell flagship's MSRP. You cannot blame GeForce RTX 5090 owners for worrying. They already have a lot on their plates, dealing with the 16-pin power connector melting woes, and now also have to worry about fading serial numbers.
At last, Joe (Zoe Saldaña) has been rescued in Lioness season 3. Frankly, that's an episode earlier than expected.
Still, it seems as though there's more to be solved. The timing of her rescue suggests there's more to the CIA's strategy than we've been able to give proper attention to (at least, I really hope that's the case), with Joe saying she can potentially "never" return home.
But does anybody really know what they're talking about? And when does Lioness season 3 episode 8 arrive on Paramount+?
What time can I watch Lioness season 3 episode 8 on Paramount+?
Lioness season 3episode 8 will drop on one of the world's best streaming services in the US and Canada on Sunday, September 20 at 12am PT / 3am ET.
Here's when it will be released in other nations:
US – 12am PT / 3am ET
Canada – 12am PT / 3am ET
UK – 8am BST
India – 12:30pm IST
Singapore – 3pm SGT
Australia – 5pm AEST
New Zealand – 7pm NZST
When do new episodes of Lioness season 3 come out?
(Image credit: Paramount+)
Lioness season 3 will have a total of eight episodes, with new entries airing weekly. That gives us the following schedule:
We're living in a drought of bold and brave storytelling. By that, I mean that almost everything we consume on our favorite streaming services plays it safe, looks the same, or lacks so much substance that you can't really say anything about it other than "it's fine".
MobLand, however, has been bucking that trend, and season 2 continues to build on an authenticity that's light years ahead of anything else. Why? At large, it's because MobLand trusts its audience to be able to think critically.
You've probably read reports of streamers modifying their scripts and plots to accommodate 'second screen' viewers — subscribers who've put something on in the background while doing something else. Without naming any names, this is starting to result in bland, unambitious storytelling that spoon-feeds you information unnecessarily.
But MobLand season 2 shows us just how fulfilling the results can be when creators and distributors alike are prepared to disrupt popular industry trends. The rich, complex layers to the central storyline feel never-ending, forcing you to play close attention to every second of dialogue and action.
The Harrigan family, as always, are unhinged. Conrad's (Pierce Brosnan) feud with Kevin (Paddy Considine) ramps up a notch, embroiling new 'fixer' Frankie (Johnny Flynn) in their mess as family arch-rival Kat (Janet McTeer) tries to take control of London from a distance.
This leaves Harry (Tom Hardy) having to clean up even more mess than before, particularly considering his and Jan's (Joanne Froggatt) impending divorce. On top of that, daughter Gina (Teddie Allen) has gone missing.
If you think you understand, you don't — between the Harrigans and us, it's the blind leading the blind. But that makes tuning into Paramount+ this week all the more enriching... because everyone is prepared to take a risk.
MobLand season 2 is a masterclass in how 2020s TV should be constructed
There's something so wonderfully hypnotic about watching a Dame and a former James Bond shower us with See You Next Tuesdays like it's no big deal (I counted, and Conrad says this four times within the first six minutes of episode 1). But such gimmicks aren't what makes MobLand season 2 so entertaining.
As I've touched on above, it all comes down to the construction. Having a whip-smart script, edgy editing and a soundtrack so defiant that Spotify would ask a listener with the same taste if they were okay, doesn't automatically give you a good show — all elements of production need to be working in complete synergy.
There will be no spoilers in this review, so I need you to trust me when I say that some scenes had all of their creative elements working in such beautiful harmony that I spiritually ascended. Never before have I wanted to be involved in organized crime, but throw me into an action sequence with dynamically rhythmic edits and Firestarter by The Prodigy as the soundtrack and I'd seriously consider it.
If I had to described MobLand season 2 in one word, it would be relentless. From the onslaught of family issues to the duplicity and deceit within them, nothing ever lets up. It's a mental scramble to keep up with everything that happens in a single episode (let alone the entire season); Guy Ritchie has created the most violent workout for the mind possible.
Throw yourself into it at full-throttle and you'll never want the grip of MobLand to let you go. It's not worth having any favorites — they'll either die or deceive you — but that in itself is a fitting lesson in trust. You stick out the ride and try to survive, and become pleasantly addicted to the process.
I've never loved a 'prick on a scooter' more
(Image credit: Paramount+)
It goes without saying that our ensemble cast is, as always, on top form. If there was any truth to the alleged behind-the-scenes drama involving Tom Hardy, all it's done is fuel the fire of some exceptional television. Harry's constant need to live on his wit's end is often amusing, while Conrad's slowly declining grip on reality never loses its gravitas.
Maeve (Helen Mirren) needed no improvement, really, but I've particularly enjoyed her power-dressing wardrobe this time around. In direct contrast is Bella (Lara Pulvey), who is the most fretful and unguarded we've ever seen her. Seraphina (Mandeep Dhillon) is on the way up the food chain, but her own worst enemy.
It's a social study in how complicated humans are while intent on making their own problems infinitely worse, then. But a particular shoutout must go to our most important newcomer, "prick on a scooter" Frankie Cooper.
Without giving too much away, he's brought into's Harry's orbit to act on behalf of the terrifyingly aloof Kat, all while dressed like the third Gallagher brother if he used the Lime app. With a chillingly monotone voice, and eyes that seem like they're constant dissociated from the world around him, he's the first genuinely troubling threat to Harry since the show began.
Frankie's relationship to everyone around him is just another fascinating dimension to behold, revealing a collective fear and vulnerability among the rest of the characters that we've not yet seen. From beginning to end, Ritchie's thought process is truly masterful.
Thank God MobLand season 3 is already a done deal. Thank God we get to experience more of this addictive high. If you thought The Gentlemen season 2 was good, you ain't seen nothing yet.
Paleontologists have identified a new species of ancient, distant mammal relative from two fossil specimens found decades apart in the Manda Beds of Tanzania.
Dr. Stephen Kane from the University of California, Riverside and colleagues offer a tidy explanation for one of the Solar System’s enduring puzzles: why Venus, so similar to Earth in size and mass, has no moon at all.
Apple is turning paid iCloud+ storage plans into a much broader services bundle in more than 100 countries, adding Apple TV, Apple Arcade, and a new limited music offering called Apple Music Select at no extra charge. The change applies even to the cheapest 50GB tier and is rolling out through the end of September 2026.
The United States, United Kingdom, Canada, Australia, New Zealand, and most of Western and Northern Europe — including Germany, France, Italy, Spain, Denmark, Norway, and Sweden — are not included. Russia is also left out.
What subscribers get
Every paid iCloud+ plan in the included markets now covers:
• Apple TV streaming, with access treated as equivalent to a standalone subscription
• Apple Arcade, including more than 200 games, with existing game saves and progress preserved
• Apple Music Select, a set of ad-free, Apple-programmed stations for lean-back listening, including regionally relevant mixes plus categories such as Top Songs, 80s, and 90s, available in the Home tab of the Music app
Full Apple Music is not included. Apple is instead offering a discounted upgrade path from iCloud+ to a complete Music subscription. In Mozambique, that discounted add-on was cited at $2.79 a month for Individual and $4.49 for Family. In India, the 50GB iCloud+ plan costs 75 rupees a month; adding discounted Music at 115 rupees can still undercut the old Apple One individual price of 195 rupees.
Family Sharing continues to work: storage, TV, and Arcade can be shared with up to five other people.
Standalone plans and Apple One are being wound downIn the affected countries, Apple will stop selling standalone Apple TV and Apple Arcade subscriptions. Existing standalone subscribers will be moved onto iCloud+ and keep uninterrupted access. Apple One is closing to new sign-ups in those markets, though current Apple One customers can keep their plans.
The strategy looks like a pivot: instead of pushing a premium multi-service bundle in price-sensitive markets, Apple is using cheap cloud storage as the hook and wrapping entertainment around it.
Apple TV’s map gets bigger
The same announcement expands Apple TV into 59 additional countries, bringing the service to 170 countries worldwide. Content and Arcade catalogs can still vary by region.
Eddy Cue, Apple’s senior vice president of Services and Health, said in a statement that the company is “excited to bring Apple TV and Apple Arcade to iCloud+ users in over 100 countries in one convenient subscription.”
There is no timeline for whether the same deal will ever arrive in the U.S. or other excluded markets.
Full list of countries and territories:
Albania; Algeria; Angola; Anguilla; Antigua and Barbuda; Armenia; Azerbaijan; Bahamas; Bahrain; Barbados; Belize; Benin; Bermuda; Bhutan; Bosnia and Herzegovina; Botswana; British Virgin Islands; Burkina Faso; Cameroon; Cape Verde; Cayman Islands; Chad; Côte d’Ivoire; Democratic Republic of the Congo; Dominica; Egypt; Eswatini; Fiji; Gabon; Gambia; Georgia; Ghana; Grenada; Guinea-Bissau; Guyana; India; Iraq; Israel; Jamaica; Jordan; Kazakhstan; Kenya; Kosovo; Kuwait; Kyrgyz Republic; Lebanon; Liberia; Libya; Madagascar; Malawi; Maldives; Mali; Mauritania; Mauritius; Micronesia; Moldova; Montenegro; Montserrat; Morocco; Mozambique; Namibia; Nauru; Nepal; Niger; Nigeria; North Macedonia; Oman; Pakistan; Palau; Papua New Guinea; Qatar; Republic of the Congo; Rwanda; Saint Kitts and Nevis; Saint Lucia; Saint Vincent and the Grenadines; São Tomé and Príncipe; Saudi Arabia; Senegal; Serbia; Seychelles; Sierra Leone; Singapore; Solomon Islands; Sri Lanka; Suriname; Tajikistan; Tanzania; Tonga; Trinidad and Tobago; Tunisia; Türkiye; Turkmenistan; Turks and Caicos; Uganda; Ukraine; United Arab Emirates; Uzbekistan; Vanuatu; Yemen; Zambia; Zimbabwe.
MacDailyNews Note: Availability of specific features, shows, and games may still differ by country, region, or device. Existing iCloud+ subscribers in the listed markets should receive TV and Arcade automatically as the rollout completes this month.
Please help support MacDailyNews — and enjoy subscriber-only articles, comments, chat, and more — by subscribing to our Substack: macdailynews.substack.com. Thank you!
Numa declaração sobre o funcionamento do sistema de reconhecimento de voz e do ACR nas suas televisões inteligentes, a LG reforça que nenhuma funcionalidade sensível está ativa por predefinição. Porém, a declaração não responde a todas as acusações feitas pela investigação da Gamers Nexus.
A Meta está lançando um novo pacotão que combina suas assinaturas de aplicativos individuais com uso adicional de recursos de inteligência artificial. Chamado Meta One, esse pacote passou por testes no início deste ano, mas agora está disponível globalmente, com várias categorias para usuários individuais, criadores e empresas.
Há dois pacotes para usuários individuais: o Core, por R$32/mês (ou US$8/mês nos Estados Unidos), e o Premium, por R$97/mês (US$20/mês). Ambos incluem as assinaturas Instagram Plus, WhatsApp Plus e Facebook Plus, além de oferecerem um limite maior de geração de mídia com a Meta AI.
Divulgação/Meta
As assinaturas Meta One voltadas a criadores e empresas variam de R$60/mês (US$15/mês) a R$2.000/mês (US$500/mês). Elas também incluem as assinaturas individuais dos aplicativos da Meta, além de benefícios como um botão de seguir em destaque, selo de verificação, melhor posicionamento nos resultados de busca e monitoramento contra contas falsas que se passam por você.
Eis os planos:
Essencial (R$60/mês ou US$15/mês): obtenha ferramentas para gerenciar sua presença e mais acesso ao Meta Business Agent no WhatsApp para responder a clientes 24 horas por dia, 7 dias por semana. Inclui também selo de verificação, canal verificado no aplicativo WhatsApp Business e proteção contra falsificação de identidade, para que as pessoas saibam que você é quem diz ser.
Avançado (R$200/mês ou US$50/mês): recursos avançados de publicação, como agendamento de Stories com até 30 dias de antecedência, links em posts orgânicos e Reels, relatórios de análise exportáveis e insights mais detalhados sobre o público. Permita que membros da equipe acessem sua conta sem compartilhar sua senha e obtenha mais dispositivos conectados e créditos para transmissões comerciais no WhatsApp. Inclui também um volume ainda maior de respostas do Meta Business Agent.
Expert (R$600/mês ou US$150/mês) e Máximo (R$2.000/mês ou US$500/mês): oferecem os níveis mais altos de acesso a recursos e capacidade do Meta Business Agent para equipes que operam em grande escala.
Divulgação/Meta
A Meta afirma que a “experiência principal” em seus aplicativos e na Meta AI continuará gratuita, e os usuários ainda poderão adquirir as assinaturas para o Facebook, o Instagram e o WhatsApp separadamente, sem o pacote One.
A empresa também diz planejar aprimorar ainda mais as assinaturas com a inclusão de recursos de edição, óculos com IA e muito mais “ao longo do tempo”.
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