Author name: Mike M.

elon-musk-wants-to-be-“agi-dictator,”-openai-tells-court

Elon Musk wants to be “AGI dictator,” OpenAI tells court


Elon Musk’s “relentless” attacks on OpenAI must cease, court filing says.

Yesterday, OpenAI counter-sued Elon Musk, alleging that Musk’s “sham” bid to buy OpenAI was intentionally timed to maximally disrupt and potentially even frighten off investments from honest bidders.

Slamming Musk for attempting to become an “AGI dictator,” OpenAI said that if Musk’s allegedly “relentless” yearslong campaign of “harassment” isn’t stopped, Musk could end up taking over OpenAI and tanking its revenue the same way he did with Twitter.

In its filing, OpenAI argued that Musk and the other investors who joined his bid completely fabricated the $97.375 billion offer. It was allegedly not based on OpenAI’s projections or historical performance, like Musk claimed, but instead appeared to be “a comedic reference to Musk’s favorite sci-fi” novel, Iain Banks’ Look to Windward. Musk and others also provided “no evidence of financing to pay the nearly $100 billion purchase price,” OpenAI said.

And perhaps most damning, one of Musk’s backers, Ron Baron, appeared “flustered” when asked about the deal on CNBC, OpenAI alleged. On air, Baron admitted that he didn’t follow the deal closely and that “the point of the bid, as pitched to him (plainly by Musk) was not to buy OpenAI’s assets, but instead to obtain ‘discovery’ and get ‘behind the wall’ at OpenAI,” the AI company’s court filing alleged.

Likely poisoning potential deals most, OpenAI suggested, was the idea that Musk might take over OpenAI and damage its revenue like he did with Twitter. Just the specter of that could repel talent, OpenAI feared, since “the prospect of a Musk takeover means chaos and arbitrary employment action.”

And “still worse, the threat of a Musk takeover is a threat to the very mission of building beneficial AGI,” since xAI is allegedly “the worst offender” in terms of “inadequate safety measures,” according to one study, and X’s chatbot, Grok, has “become a leading spreader of misinformation and inflammatory political rhetoric,” OpenAI said. Even xAI representatives had to admit that users discovering that Grok consistently responds that “President Donald Trump and Musk deserve the death penalty” was a “really terrible and bad failure,” OpenAI’s filing said.

Despite Musk appearing to only be “pretending” to be interested in purchasing OpenAI—and OpenAI ultimately rejecting the offer—the company still had to cover the costs of reviewing the bid. And beyond bearing costs and confronting an artificially raised floor on the company’s valuation supposedly frightening off investors, “a more serious toll” of “Musk’s most recent ploy” would be OpenAI lacking resources to fulfill its mission to benefit humanity with AI “on terms uncorrupted by unlawful harassment and interference,” OpenAI said.

OpenAI has demanded a jury trial and is seeking an injunction to stop Musk’s alleged unfair business practices—which they claimed are designed to impair competition in the nascent AI field “for the sole benefit of Musk’s xAI” and “at the expense of the public interest.”

“The risk of future, irreparable harm from Musk’s unlawful conduct is acute, and the risk that that conduct continues is high,” OpenAI alleged. “With every month that has passed, Musk has intensified and expanded the fronts of his campaign against OpenAI, and has proven himself willing to take ever more dramatic steps to seek a competitive advantage for xAI and to harm [OpenAI CEO Sam] Altman, whom, in the words of the president of the United States, Musk ‘hates.'”

OpenAI also wants Musk to cover the costs it incurred from entertaining the supposedly fake bid, as well as pay punitive damages to be determined at trial for allegedly engaging “in wrongful conduct with malice, oppression, and fraud.”

OpenAI’s filing also largely denies Musk’s claims that OpenAI abandoned its mission and made a fool out of early investors like Musk by currently seeking to restructure its core business into a for-profit benefit corporation (which removes control by its nonprofit board).

“You can’t sue your way to AGI,” an OpenAI blog said.

In response to OpenAI’s filing, Musk’s lawyer, Marc Toberoff, provided a statement to Ars.

“Had OpenAI’s Board genuinely considered the bid, as they were obligated to do, they would have seen just how serious it was,” Toberoff said. “It’s telling that having to pay fair market value for OpenAI’s assets allegedly ‘interferes’ with their business plans. It’s apparent they prefer to negotiate with themselves on both sides of the table than engage in a bona fide transaction in the best interests of the charity and the public interest.”

Musk’s attempt to become an “AGI dictator”

According to OpenAI’s filing, “Musk has tried every tool available to harm OpenAI” ever since OpenAI refused to allow Musk to become an “AGI dictator” and fully control OpenAI by absorbing it into Tesla in 2018.

Musk allegedly “demanded sole control of the new for-profit, at least in the short term: He would be CEO, own a majority equity stake, and control a majority of the board,” OpenAI said. “He would—in his own words—’unequivocally have initial control of the company.'”

At the time, OpenAI rejected Musk’s offer, viewing it as in conflict with its mission to avoid corporate control and telling Musk:

“You stated that you don’t want to control the final AGI, but during this negotiation, you’ve shown to us that absolute control is extremely important to you. … The goal of OpenAI is to make the future good and to avoid an AGI dictatorship. … So it is a bad idea to create a structure where you could become a dictator if you chose to, especially given that we can create some other structure that avoids this possibility.”

This news did not sit well with Musk, OpenAI said.

“Musk was incensed,” OpenAI told the court. “If he could not control the contemplated for-profit entity, he would not participate in it.”

Back then, Musk departed from OpenAI somewhat “amicably,” OpenAI said, although Musk insisted it was “obvious” that OpenAI would fail without him. However, after OpenAI instead became a global AI leader, Musk quietly founded xAI, OpenAI alleged, failing to publicly announce his new company while deceptively seeking a “moratorium” on AI development, apparently to slow down rivals so that xAI could catch up.

OpenAI also alleges that this is when Musk began intensifying his attacks on OpenAI while attempting to poach its top talent and demanding access to OpenAI’s confidential, sensitive information as a former donor and director—”without ever disclosing he was building a competitor in secret.”

And the attacks have only grown more intense since then, said OpenAI, claiming that Musk planted stories in the media, wielded his influence on X, requested government probes into OpenAI, and filed multiple legal claims, including seeking an injunction to halt OpenAI’s business.

“Most explosively,” OpenAI alleged that Musk pushed attorneys general of California and Delaware “to force OpenAI, Inc., without legal basis, to auction off its assets for the benefit of Musk and his associates.”

Meanwhile, OpenAI noted, Musk has folded his social media platform X into xAI, announcing its valuation was at $80 billion and gaining “a major competitive advantage” by getting “unprecedented direct access to all the user data flowing through” X. Further, Musk intends to expand his “Colossus,” which is “believed to be the world’s largest supercomputer,” “tenfold.” That could help Musk “leap ahead” of OpenAI, suggesting Musk has motive to delay OpenAI’s growth while he pursues that goal.

That’s why Musk “set in motion a campaign of harassment, interference, and misinformation designed to take down OpenAI and clear the field for himself,” OpenAI alleged.

Even while counter-suing, OpenAI appears careful not to poke the bear too hard. In the court filing and on X, OpenAI praised Musk’s leadership skills and the potential for xAI to dominate the AI industry, partly due to its unique access to X data. But ultimately, OpenAI seems to be happy to be operating independently of Musk now, asking the court to agree that “Elon’s never been about the mission” of benefiting humanity with AI, “he’s always had his own agenda.”

“Elon is undoubtedly one of the greatest entrepreneurs of our time,” OpenAI said on X. “But these antics are just history on repeat—Elon being all about Elon.”

Photo of Ashley Belanger

Ashley is a senior policy reporter for Ars Technica, dedicated to tracking social impacts of emerging policies and new technologies. She is a Chicago-based journalist with 20 years of experience.

Elon Musk wants to be “AGI dictator,” OpenAI tells court Read More »

twitch-makes-deal-to-escape-elon-musk-suit-alleging-x-ad-boycott-conspiracy

Twitch makes deal to escape Elon Musk suit alleging X ad boycott conspiracy

Instead, it appears that X decided to sue Twitch after discovering that Twitch was among advertisers who directly referenced the WFA’s brand safety guidelines in its own community guidelines and terms of service. X likely saw this as evidence that Twitch was allegedly conspiring with the WFA to restrict then-Twitter’s ad revenue, since X alleged that Twitch reduced ad purchases to “only a de minimis amount outside the United States, after November 2022,” X’s complaint said.

“The Advertiser Defendants and other GARM-member advertisers acted in parallel to discontinue their purchases of advertising from Twitter, in a marked departure from their prior pattern of purchases,” X’s complaint said.

Now, it seems that X has agreed to drop Twitch from the suit, perhaps partly because the complaint X had about Twitch adhering to WFA brand safety standards is defused since the WFA disbanded the ad industry arm that set those standards.

Unilever struck a similar deal to wriggle out of the litigation, Reuters noted, and remained similarly quiet on the terms, only saying that the brand remained “committed to meeting our responsibility standards to ensure the safety and performance of our brands on the platform.” But other advertisers, including Colgate, CVS, LEGO, Mars, Pinterest, Shell, and Tyson Foods, so far have not.

For Twitch, its deal seems to clearly take a target off its back at a time when some advertisers are reportedly returning to X to stay out of Musk’s crosshairs. Getting out now could spare substantial costs as the lawsuit drags on, even though X CEO Linda Yaccarino declared the ad boycott was over in January. X is still $12 billion in debt, X claimed, after Musk’s xAI bought X last month. External data in January seemed to suggest many big brands were still hesitant to return to the platform, despite Musk’s apparent legal strong-arming and political influence in the Trump administration.

Ars could not immediately reach Twitch or X for comment. But the court docket showed that Twitch was up against a deadline to respond to the lawsuit by mid-May, which likely increased pressure to reach an agreement before Twitch was forced to invest in raising a defense.

Twitch makes deal to escape Elon Musk suit alleging X ad boycott conspiracy Read More »

creating-a-distinctive-aesthetic-for-daredevil:-born-again

Creating a distinctive aesthetic for Daredevil: Born Again


Ars chats with cinematographer Hillary Fyfe Spera on bringing a 1970s film vibe to the Marvel series.

Enthusiasm was understandably high for Daredevil: Born Again, Marvel’s revival of the hugely popular series in the Netflix Defenders universe. Not only was Charlie Cox returning to the title role as Matt Murdock/Daredevil, but Vincent D’Onofrio was also coming back as his nemesis, crime lord Wilson Fisk/Kingpin. Their dynamic has always been electric, and that on-screen magic is as powerful as ever in Born Again, which quickly earned critical raves and a second season that is currently filming.

(Some spoilers for the series below, but no major reveals beyond the opening events of the first episode.)

Born Again was initially envisioned as more of an episodic reset rather than a straight continuation of the serialized Netflix series. But during the 2023 Hollywood strikes, with production halted, the studio gave the show a creative overhaul more in line with the Netflix tone, even though six episodes had been largely completed by then. The pilot was reshot completely, and new footage was added to subsequent episodes to ensure narrative continuity with the original Daredevil—with a few well-placed nods to other characters in the MCU for good measure.

It was a savvy move. Sure, fans were shocked when the pilot episode killed off Matt’s best friend and law partner, Foggy Nelson (Elden Hensen), in the first 10 minutes, with his grief-stricken law partner, Karen Page (Deborah Ann Woll), taking her leave from the firm by the pilot’s end. But that creative choice cleared the decks to place the focus squarely on Matt’s and Fisk’s parallel arcs. Matt decides to focus on his legal work while Fisk is elected mayor of New York City, intent on leaving his criminal life behind. But each man struggles to remain in the light as the dark sides of their respective natures fight to be released.

The result is a series that feels very much a part of its predecessor while still having its own distinctive feel. Much of that is due to cinematographer Hillary Fyfe Spera, working in conjunction with the broader production team to bring Born Again‘s aesthetic to vivid life. Fyfe Spera drew much of her inspiration from 1970s films like Taxi DriverThe French Connection, The Conversation, and Klute. “I’m a big fan of films of the ’70s, especially New York films,” Fyfe Spera told Ars. “It’s pervaded all of my cinematography from the beginning. This one in particular felt like a great opportunity to use that as a reference. There’s a lot of paranoia, and it’s really about character, even though we’re in a comic book environment. I just thought that the parallels of that reference were solid.”

Ars caught up with Fyfe Spera to learn more.

Karen, Matt, and Foggy enjoy a moment of camaraderie before tragedy strikes. Marvel Studios/Disney+

Ars Technica: I was surprised to learn that you never watched an episode of the original Netflix series when designing the overall look of Born Again. What was your rationale for that?

Hillary Fyfe Spera: I think as a creative person you don’t want to get too much in your head before you get going. I was very aware of Daredevil, the original series. I have a lot of friends who worked on it. I’ve seen sequences, which are intimidatingly incredible. [My decision] stemmed from wanting to bring something new to the table. We still pay homage to the original; that’s in our blood, in our DNA. But there was enough of that in the ether, and I wanted to think forward and be very aware of the original comics and the original lore and story. It was more about the identities of the characters and making sure New York itself was an authentic character. Looking back now, we landed in a lot of the same places. I knew that would happen naturally.

Ars Technica:  I was intrigued by your choice to use anamorphic lenses, one assumes to capture some of that ’70s feel, particularly the broad shots of the city.

Hillary Fyfe Spera: It’s another thing that I just saw from the very beginning; you just get a feeling about lenses in your gut. I know the original show was 1.78; I just saw this story as 2.39. It just felt like so many of the cityscapes exist in that wide-screen format. For me, the great thing about anamorphic is the relationship within composition in the lens. We talk about this dichotomy of two individuals or reflections or parallel worlds. I felt the widescreen gave us that ability. Another thing we do frequently is center framing, something the widescreen lens can really nail. Also, we shoot with these vintage-series Panavision anamorphics, which are so beautiful and textured, and have beautiful flaring effects. It brought organic textured elements to the look of the show that were a little out of the box.

Ars Technica: The city is very much a character, not just a showy backdrop. Is that why you insisted on shooting as much as possible on location?

Hillary Fyfe Spera: We shot in New York on the streets, and that is a challenge. We deal with everything from weather to fans to just New Yorkers who don’t really care, they just need to go where they’re going. Rats were a big part of it. We use a lot of wet downs and steam sources to replicate what it looks like outside our window every day. It’s funny, I’ll walk down the street and be like, “Oh look at that steam source, it’s real, it’s coming out of the street.”

Shooting a show of this scale and with its demands in a practical environment is such a fun challenge, because you have to be beholden to what you’re receiving from the universe. I think that’s cool. One of my favorite things about cinematography is that you can plan it to an inch of its life, prepare a storyboard and shot list as much as you possibly can, and then the excitement of being out in the world and having to adapt to what’s happening is a huge part of it. I think we did that. We had the confidence to say, “Well, the sun’s setting over there and that looks pretty great, let’s make that an element, let’s bring it in.” Man, those fluorescent bulbs that we can’t turn off across the street? They’re part of it. They’re the wrong color, but maybe they’re the right color because that’s real.

Ars Technica: Were there any serendipitous moments you hadn’t planned but decided to keep in the show anyway? 

Hillary Fyfe Spera: There’s one that we were shooting on an interior. It was on a set that we built, where Fisk has a halo effect around his head. It’s a reflection in a table. That set was built by Michael Shaw, our production designer. One of our operators happened to tilt the camera down into the reflection, and we’re like, “Oh my God, it’s right there.” Of course, it ended up in the show; it was a total gimme. Another example is a lot of our New York City street stuff, which was completely just found. We just went out there and we shot it: the hotdog carts, the streets, the steam, the pigeons. There’s so many pigeons. I think it really makes it feel authentic.

Ars Technica: The Matt Murdock/Wilson Fisk dynamic is so central to the show. How does the cinematography visually enhance that dynamic? 

Hillary Fyfe Spera: They’re coming back to their identities as Kingpin and Daredevil, and they’re wrestling with those sides of themselves. I think in Charlie and Vincent’s case, both of them would say that neither one is complete without the other. For us, visually, that’s just such a fun challenge to be able to show that dichotomy and their alter egos. We do it a lot with lensing.

In Fisk’s case, we use a lot of wide-angle lenses, very close to him, very low angle to show his stature and his size. We use it with a white light in the pilot, where, as the Kingpin identity is haunting him and coming more to the surface, we show that with this white light. There’s the klieg lights of his inauguration, but then he steps into darkness and into this white light. It’s actually a key frame taken directly from the comic book, of that under light on him.

For Matt Murdock, it’s similar. He is wrestling with going back to being Daredevil, which he’s put aside after Foggy’s death. The red blinking light for him is an indication of that haunting him. You know it’s inevitable, you know he’s going to put the suit back on. It’s who these guys are, they’re damaged individuals dealing with their past and their true selves. And his world, just from an aesthetic place, is a lot warmer with a lot more use of handheld.

We’re using visual languages to separate everyone, but also have them be in the same conversation. As the show progresses, that arc is evolving. So, as Fisk becomes more Kingpin, we light him with a lot more white light, more oppression, he’s the institution. Matt is going into more of the red light environment, the warmer environment. There’s a diner scene between the two of them, and within their coverage Matt is shot handheld and Fisk is shot with a studio mode with a lockdown camera. So, we’re mixing, we’re blending it even within the scenes to try and stay true to that thesis.

Ars Technica: The episodes are definitely getting darker in terms of the lighting. That has become quite an issue, particularly on television, because many people’s TVs are not set up to be able to handle that much darkness.

Hillary Fyfe Spera: Yeah, when I visit my parents, I try to mess with their TV settings a little. People are just watching it in the wrong way. I can’t speak for everyone; I love darkness. I love a night exterior, I love what you don’t see. For me, that goes back to films like The French Connection. It’s all about what you don’t see. With digital, you see so much, you have so much latitude and resolution that it’s a challenge in the other way, where we’re trying to create environments where there is a lot of contrast and there is a lot of mystery. I just think cinematographers get excited with the ability to play with that. It’s hard to have darkness in a digital medium. But I think viewers on the whole are getting used to it. I think it’s an evolving conversation.

Ars Technica: The fight choreography looks like it would be another big challenge for a cinematographer.

Hillary Fyfe Spera: I need to give a shoutout to my gaffer, Charlie Grubbs, and key grip, Matt Staples. We light an environment, we shoot those sequences with three cameras a lot of times, which is hard to do from a lighting perspective because you’re trying to make every shot feel really unique. A lot of that fight stuff is happening so quickly that you want to backlight a lot, to really set out moments so you can see it. You don’t want to fall into a muddy movement world where you can’t really make out the incredible choreography. So we do try and set environments that are cinematic, but that shoot certain directions that are really going to pinpoint the movement and the action.

It’s a collaboration conversation with Phil Silvera, our stunt coordinator and action director: not only how we can support him, but how we can add these cinematic moments that sometimes aren’t always based in reality, but are just super fun. We’ll do interactive lighting, headlights moving through, flares, just to add a little something to the sequence. The lighting of those sequences are as much a character, I think, as the performances themselves.

Ars Technica: Will you be continuing the same general look and feel in terms of cinematography for S2?

Hillary Fyfe Spera: I’ve never come back for a second season. I love doing a project and moving on, but what was so cool about doing this one was that the plan is to evolve it, so we keep going. The way we leave things in episode nine—I don’t know if we’re picking up directly after, but there is a visual arc that lands in nine, and we will continue that in S2, which has its own arc as well. There are more characters and more storylines in S2, and it’s all being folded into the visual look, but it is coming from the same place: the grounded, ’70s New York look, and even more comic cinematic moments. I think we’re going to bring it.

Photo of Jennifer Ouellette

Jennifer is a senior writer at Ars Technica with a particular focus on where science meets culture, covering everything from physics and related interdisciplinary topics to her favorite films and TV series. Jennifer lives in Baltimore with her spouse, physicist Sean M. Carroll, and their two cats, Ariel and Caliban.

Creating a distinctive aesthetic for Daredevil: Born Again Read More »

nintendo-explains-why-switch-2-hardware-and-software-cost-so-much

Nintendo explains why Switch 2 hardware and software cost so much

Things just cost more now

In justifying the $450 price of the Switch 2, Nintendo executives predictably pointed to the system’s upgraded hardware specs, as well as new features like GameChat and mouse mode. “As you add more technology into a system, especially in this day and age, that drives additional cost.” Nintendo Vice President of Player & Product Experience Bill Trinen told Polygon.

That said, Trinen also pointed toward rising prices in the wider economy to justify the $150 jump between Switch and Switch 2 pricing. “We’re unfortunately living in an era where I think inflation is affecting everything,” Trinen said.

The Switch never saw a nominal price drop, but inflation still ate away at its total cost a bit over the years.

The Switch never saw a nominal price drop, but inflation still ate away at its total cost a bit over the years.

Trinen isn’t wrong about that; the $299 early adopters paid for a Switch in 2017 is worth about $391 in today’s dollars, according to the BLS CPI calculator. But for customers whose own incomes may have stayed flat over that time, the 50 percent jump in nominal pricing from Switch to Switch 2 may be hard to swallow in a time of increasing economic uncertainty.

“Obviously the cost of everything goes up over time, and I personally would love if the cost of things didn’t go up over time,” Trinen told IGN. “And certainly there’s the cost of goods and things that factor into that, but we try to find the right appropriate price for a product based on that.”

Is $80 the new $70?

Talk of inflation extended to Trinen’s discussion of why Nintendo decided to sell first-party Switch 2 games for $70 to $80. “The price of video games has been very stable for a very long time,” Trinen told Polygon. “I actually have an ad on my phone that I found from 1993, when Donkey Kong Country released on the SNES at $59. That’s a very, very long time where pricing on games has been very stable…”

Nintendo explains why Switch 2 hardware and software cost so much Read More »

how-did-eastern-north-america-form?

How did eastern North America form?


Collisions hold lessons for how the edges of continents are built and change over time.

When Maureen Long talks to the public about her work, she likes to ask her audience to close their eyes and think of a landscape with incredible geology. She hears a lot of the same suggestions: Iceland, the Grand Canyon, the Himalayas. “Nobody ever says Connecticut,” says Long, a geologist at Yale University in New Haven in that state.

And yet Connecticut—along with much of the rest of eastern North America—holds important clues about Earth’s history. This region, which geologists call the eastern North American margin, essentially spans the US eastern seaboard and a little farther north into Atlantic Canada. It was created over hundreds of millions of years as slivers of Earth’s crust collided and merged. Mountains rose, volcanoes erupted and the Atlantic Ocean was born.

Much of this geological history has become apparent only in the past decade or so, after scientists blanketed the United States with seismometers and other instruments to illuminate geological structures hidden deep in Earth’s crust. The resulting findings include many surprises—from why there are volcanoes in Virginia to how the crust beneath New England is weirdly crumpled.

The work could help scientists better understand the edges of continents in other parts of the world; many say that eastern North America is a sort of natural laboratory for studying similar regions. And that’s important. “The story that it tells about Earth history and about this set of Earth processes … [is] really fundamental to how the Earth system works,” says Long, who wrote an in-depth look at the geology of eastern North America for the 2024 Annual Review of Earth and Planetary Sciences.

Born of continental collisions

The bulk of North America today is made of several different parts. To the west are relatively young and mighty mountain ranges like the Sierra Nevada and the Rockies. In the middle is the ancient heart of the continent, the oldest and stablest rocks around. And in the east is the long coastal stretch of the eastern North American margin. Each of these has its own geological history, but it is the story of the eastern bit that has recently come into sharper focus.

For decades, geologists have understood the broad picture of how eastern North America came to be. It begins with plate tectonics, the process in which pieces of Earth’s crust shuffle around over time, driven by churning motions in the underlying mantle. Plate tectonics created and then broke apart an ancient supercontinent known as Rodinia. By around 550 million years ago, a fragment of Rodinia had shuffled south of the equator, where it lay quietly for tens of millions of years. That fragment is the heart of what we know today as eastern North America.

Then, around 500 million years ago, tectonic forces started bringing fragments of other landmasses toward the future eastern North America. Carried along like parts on an assembly line, these continental slivers crashed into it, one after another. The slivers glommed together and built up the continental margin.

During that process, as more and more continental collisions crumpled eastern North America and thrust its agglomerated slivers into the sky, the Appalachian Mountains were born. To the west, the eastern North American margin had merged with ancient rocks that today make up the heart of the continent, west of the Appalachians and through the Midwest and into the Great Plains.

When one tectonic plate slides beneath another, slivers of Earth’s crust, known as terranes, can build up and stick together, forming a larger landmass. Such a process was key to the formation of eastern North America. Credit: Knowable Magazine

By around 270 million years ago, that action was done, and all the world’s landmasses had merged into a second single supercontinent, Pangaea. Then, around 200 million years ago, Pangaea began splitting apart, a geological breakup that formed the Atlantic Ocean, and eastern North America shuffled toward its current position on the globe.

Since then, erosion has worn down the peaks of the once-mighty Appalachians, and eastern North America has settled into a mostly quiet existence. It is what geologists call a “passive margin,” because although it is the edge of a continent, it is not the edge of a tectonic plate anymore: That lies thousands of miles out to the east, in the middle of the Atlantic Ocean.

In many parts of the world, passive continental margins are just that—passive, and pretty geologically boring. Think of the eastern edge of South America or the coastline around the United Kingdom; these aren’t places with active volcanoes, large earthquakes, or other major planetary activity.

But eastern North America is different. There’s so much going on there that some geologists have humorously dubbed it a “passive-aggressive margin.”

The eastern edge of North America, running along the US seaboard, contains fragments of different landscapes that attest to its complex birth. They include slivers of Earth’s crust that glommed together along what is now the east coast, with a more ancient mountain belt to their west and a chunk of even more ancient crust to the west of that. Credit: Knowable Magazine

That action includes relatively high mountains—for some reason, the Appalachians haven’t been entirely eroded away even after tens to hundreds of millions of years—as well as small volcanoes and earthquakes. Recent east-coast quakes include the magnitude-5.8 tremor near Mineral, Virginia, in 2011, and a magnitude-3.8 blip off the coast of Maine in January 2025. So geological activity exists in eastern North America. “It’s just not following your typical tectonic activity,” says Sarah Mazza, a petrologist at Smith College in Northampton, Massachusetts.

Crunching data on the crust

Over decades, geologists had built up a history of eastern North America by mapping rocks on Earth’s surface. But they got a much better look, and many fresh insights, starting around 2010. That’s after a federally funded research project known as EarthScope blanketed the continental United States with seismometers. One aim was to gather data on how seismic energy from earthquakes reverberated through the Earth’s crust and upper mantle. Like a CT scan of the planet, that information highlights structures that lie beneath the surface and would not otherwise be detected.

With EarthScope, researchers could suddenly see what parts of the crust were warm or cold, or strong or weak—information that told them what was happening underground. Having the new view was like astronomers going from looking at the stars with binoculars to using a telescope, Long says. “You can see more detail, and you can see finer structure,” she says. “A lot of features that we now know are present in the upper mantle beneath eastern North America, we really just did not know about.”

And then scientists got even better optics. Long and other researchers began putting out additional seismometers, packing them in dense lines and arrays over the ground in places where they wanted even better views into what was going on beneath the surface, including Georgia and West Virginia. Team members would find themselves driving around the countryside to carefully set up seismometer stations, hoping these would survive the snowfall and spiders of a year or two until someone could return to retrieve the data.

The approach worked—and geophysicists now have a much better sense of what the crust and upper mantle are doing under eastern North America. For one thing, they found that the thickness of the crust varies from place to place. Parts that are the remains of the original eastern North America landmass have a much thicker crust, around 45 kilometers. The crust beneath the continental slivers that attached later on to the eastern edge is much thinner, more like 25 to 30 kilometers thick. That difference probably traces back to the formation of the continent, Long says.

Seismic studies have revealed in recent years that Earth’s crust varies dramatically in thickness along the eastern seaboard—a legacy of how this region was pieced together from various landmasses over time. Credit: Knowable Magazine

But there’s something even weirder going on. Seismic images show that beneath parts of New England, it’s as if parts of the crust and upper mantle have slid atop one another. A 2022 study led by geoscientist Yantao Luo, a colleague of Long, found that the boundary that marks the bottom of Earth’s crust—often referred to as the Moho, after the Croatian seismologist Andrija Mohorovičić—was stacked double, like two overlapping pancakes, under southern New England.

The result was so surprising that at first Long didn’t think it could be right. But Luo double-checked and triple-checked, and the answer held. “It’s this super-unusual geometry,” Long says. “I’m not sure I’ve seen it anywhere else.”

It’s particularly odd because the Moho in this region apparently has managed to maintain its double-stacking for hundreds of millions of years, says Long. How that happened is a bit of a mystery. One idea is that the original landmass of eastern North America had an extremely strong and thick crust. When weaker continental slivers began arriving and glomming on to it, they squeezed up and over it in places.

How the Moho is working

The force of that collision could have carried the Moho of the incoming pieces up and over the older landmass, resulting in a doubling of the Moho there, says Paul Karabinos, a geologist at Williams College in Williamstown, Massachusetts. Something similar might be happening in Tibet today as the tectonic plate carrying India rams into that of Asia and crumples the crust against the Tibetan plateau. Long and her colleagues are still trying to work out how widespread the stacked-Moho phenomenon is across New England; already, they have found more signs of it beneath northwestern Massachusetts.

A second surprising discovery that emerged from the seismic surveys is why 47-million-year-old volcanoes along the border of Virginia and West Virginia might have erupted. The volcanoes are the youngest eruptions that have happened in eastern North America. They are also a bit of a mystery, since there is no obvious source of molten rock in the passive continental margin that could be fueling them.

The answer, once again, came from detailed seismic scans of the Earth. These showed that a chunk was missing from the bottom of Earth’s crust beneath the volcanoes: For some reason, the bottom of the crust became heavy and dripped downward from the top part, leaving a gap. “That now needs to be filled,” says Mazza. Mantle rocks obligingly flowed into the gap, experiencing a drop in pressure as they moved upward. That change in pressure triggered the mantle rocks to melt—and created the molten reservoir that fueled the Virginia eruptions.

The same process could be happening in other passive continental margins, Mazza says. Finding it beneath Virginia is important because it shows that there are more and different ways to fuel volcanoes in these areas than scientists had previously thought possible: “It goes into these ideas that you have more ways to create melt than your standard tectonic process,” she says.

Long and her colleagues are looking to see whether other parts of the eastern North American margin also have this crustal drip. One clue is emerging from how seismic energy travels through the upper mantle throughout the region. The rocks beneath the Virginia volcanoes show a strange slowdown, or anomaly, as seismic energy passes through them. That could be related to the crustal dripping that is going on there.

Seismic surveys have revealed a similar anomaly in northern New England. To try to unravel what might be happening at this second anomaly, Long’s team currently has one string of seismometers across Massachusetts, Vermont, and New Hampshire, and a second dense array in eastern Massachusetts. “Maybe something like what went on in Virginia might be in process … elsewhere in eastern North America,” Long says. “This might be a process, not just something that happened one time.”

Long even has her eyes on pushing farther north, to do seismic surveys along the continental margin in Newfoundland, and even across to Ireland—which once lay next to the North American continental margin, until the Atlantic Ocean opened and separated them. Early results suggest there may be significant differences in how the passive margin behaved on the North American side and on the Irish side, Long’s collaborator Roberto Masis Arce of Rutgers University reported at the American Geophysical Union conference in December 2024.

All these discoveries go to show that the eastern North American margin, once deemed a bit of a snooze, has far more going for it than one might think. “Passive doesn’t mean geologically inactive,” Mazza says. “We live on an active planet.”

This article originally appeared in Knowable Magazine, a nonprofit publication dedicated to making scientific knowledge accessible to all. Sign up for Knowable Magazine’s newsletter.

Photo of Knowable Magazine

Knowable Magazine explores the real-world significance of scholarly work through a journalistic lens.

How did eastern North America form? Read More »

2025-chevrolet-silverado-ev-lt-review:-this-is-one-long-pickup-truck

2025 Chevrolet Silverado EV LT review: This is one long pickup truck

At lower speeds, I found the Silverado EV a little more cumbersome. As noted, it’s a very long vehicle, and you need the more expensive RST version if you want rear-wheel steering, which turns the opposite direction to the front wheels at low speeds, in effect shrinking the 145.7-inch (3,700 mm) wheelbase. You would be much happier driving one of these straight into a garage rather than backing it into a parking space.

Having a garage isn’t a must, but in my opinion, being able to charge at home (or reliably at work) still remains a precondition for buying a plug-in vehicle. 120 V (level 1) AC charging might work for routine overnight top-ups if your daily driving is 40 miles or less, but it may take more than a day to completely restore a totally empty pack.

A chevrolet Silverado EV seen from the rear 3/4, parked in front of a mid-century building

Did this truck miss its moment in time? Credit: Jonathan Gitlin

Level 2 AC charging should take 8–10 hours for a full charge (Chevy says 10 miles (16 km) in 10 minutes). Although the powertrain operates at 400 V, the pack can rejigger itself at suitable DC fast chargers to accept an 800 V charge at up to 300 kW. Expect a 10–80 percent charge to take around 45 minutes; during my week testing the Silverado EV, I only ran the battery down to around 50 percent, so I wouldn’t have seen optimal rates had I plugged it in. With climate change now causing wide temperature swings in early March, I can report that I averaged 1.7 miles/kWh (36.6 kWh/100 km) in cold weather, but once things got mild, that jumped to 2.2 miles/kWh (28.2 kWh/100 km).

Was Chevrolet misguided in making the Silverado EV? It certainly made more sense when EV optimism was peaking and the marketing departments in Detroit thought that pickup buyers would be easy conquests for a brave new future powered by electrons. That turned out to be the opposite of true, at least for the time being. But the automaker has a decent selection of EVs in other shapes, sizes, and price points, and an advantage to its common battery platform should be a degree of flexibility in which cars it decides to put them in.

2025 Chevrolet Silverado EV LT review: This is one long pickup truck Read More »

not-just-switch-2:-esa-warns-trump’s-tariffs-will-hurt-the-entire-game-industry

Not just Switch 2: ESA warns Trump’s tariffs will hurt the entire game industry

This morning’s announcement that Nintendo is delaying US preorders for the Switch 2 immediately increased the salience of President Trump’s proposed wide-reaching import tariffs for millions of American Nintendo fans. Additionally, the Entertainment Software Association—a lobbying group that represents the game industry’s interests in Washington—is warning that the effects of Trump’s tariffs on the gaming world won’t stop with Nintendo.

“There are so many devices we play video games on,” ESA senior vice president Aubrey Quinn said in an interview with IGN just as Nintendo’s preorder delay news broke. “There are other consoles… VR headsets, our smartphones, people who love PC games; if we think it’s just the Switch, then we aren’t taking it seriously.

“This is company-agnostic, this is an entire industry,” she continued. “There’s going to be an impact on the entire industry.”

While Trump’s tariff proposal includes a 10 percent tax on imports from pretty much every country, it also includes a 46 percent tariff on Vietnam and a 54 percent total tariff on China, the two countries where most console hardware is produced. Quinn told IGN that it’s “hard to imagine a world where tariffs like these don’t impact pricing” for those consoles.

More than that, though, Quinn warns that massive tariffs would tamp down overall consumer spending, which would have knock-on effects for game industry revenues, employment, and research and development investment.

“Video game consoles are sold under tight margins in order to reduce the barrier to entry for consumers,” the ESA notes in its issue page on tariffs. “Tariffs mean that the additional costs would be passed along to consumers, resulting in a ripple effect of harm for the industry and the jobs it generates and supports.

Not just a foreign problem

The negative impacts wouldn’t be limited to foreign companies like Nintendo, Quinn warned, because “even American-based companies, they’re getting products that need to cross into American borders to make those consoles, to make those games. And so there’s going to be a real impact regardless of company.”

Not just Switch 2: ESA warns Trump’s tariffs will hurt the entire game industry Read More »

gemini-“coming-together-in-really-awesome-ways,”-google-says-after-2.5-pro-release

Gemini “coming together in really awesome ways,” Google says after 2.5 Pro release


Google’s Tulsee Doshi talks vibes and efficiency in Gemini 2.5 Pro.

Google was caught flat-footed by the sudden skyrocketing interest in generative AI despite its role in developing the underlying technology. This prompted the company to refocus its considerable resources on catching up to OpenAI. Since then, we’ve seen the detail-flubbing Bard and numerous versions of the multimodal Gemini models. While Gemini has struggled to make progress in benchmarks and user experience, that could be changing with the new 2.5 Pro (Experimental) release. With big gains in benchmarks and vibes, this might be the first Google model that can make a dent in ChatGPT’s dominance.

We recently spoke to Google’s Tulsee Doshi, director of product management for Gemini, to talk about the process of releasing Gemini 2.5, as well as where Google’s AI models are going in the future.

Welcome to the vibes era

Google may have had a slow start in building generative AI products, but the Gemini team has picked up the pace in recent months. The company released Gemini 2.0 in December, showing a modest improvement over the 1.5 branch. It only took three months to reach 2.5, meaning Gemini 2.0 Pro wasn’t even out of the experimental stage yet. To hear Doshi tell it, this was the result of Google’s long-term investments in Gemini.

“A big part of it is honestly that a lot of the pieces and the fundamentals we’ve been building are now coming together in really awesome ways, ” Doshi said. “And so we feel like we’re able to pick up the pace here.”

The process of releasing a new model involves testing a lot of candidates. According to Doshi, Google takes a multilayered approach to inspecting those models, starting with benchmarks. “We have a set of evals, both external academic benchmarks as well as internal evals that we created for use cases that we care about,” she said.

Credit: Google

The team also uses these tests to work on safety, which, as Google points out at every given opportunity, is still a core part of how it develops Gemini. Doshi noted that making a model safe and ready for wide release involves adversarial testing and lots of hands-on time.

But we can’t forget the vibes, which have become an increasingly important part of AI models. There’s great focus on the vibe of outputs—how engaging and useful they are. There’s also the emerging trend of vibe coding, in which you use AI prompts to build things instead of typing the code yourself. For the Gemini team, these concepts are connected. The team uses product and user feedback to understand the “vibes” of the output, be that code or just an answer to a question.

Google has noted on a few occasions that Gemini 2.5 is at the top of the LM Arena leaderboard, which shows that people who have used the model prefer the output by a considerable margin—it has good vibes. That’s certainly a positive place for Gemini to be after a long climb, but there is some concern in the field that too much emphasis on vibes could push us toward models that make us feel good regardless of whether the output is good, a property known as sycophancy.

If the Gemini team has concerns about feel-good models, they’re not letting it show. Doshi mentioned the team’s focus on code generation, which she noted can be optimized for “delightful experiences” without stoking the user’s ego. “I think about vibe less as a certain type of personality trait that we’re trying to work towards,” Doshi said.

Hallucinations are another area of concern with generative AI models. Google has had plenty of embarrassing experiences with Gemini and Bard making things up, but the Gemini team believes they’re on the right path. Gemini 2.5 apparently has set a high-water mark in the team’s factuality metrics. But will hallucinations ever be reduced to the point we can fully trust the AI? No comment on that front.

Don’t overthink it

Perhaps the most interesting thing you’ll notice when using Gemini 2.5 is that it’s very fast compared to other models that use simulated reasoning. Google says it’s building this “thinking” capability into all of its models going forward, which should lead to improved outputs. The expansion of reasoning in large language models in 2024 resulted in a noticeable improvement in the quality of these tools. It also made them even more expensive to run, exacerbating an already serious problem with generative AI.

The larger and more complex an LLM becomes, the more expensive it is to run. Google hasn’t released technical data like parameter count on its newer models—you’ll have to go back to the 1.5 branch to get that kind of detail. However, Doshi explained that Gemini 2.5 is not a substantially larger model than Google’s last iteration, calling it “comparable” in size to 2.0.

Gemini 2.5 is more efficient in one key area: the chain of thought. It’s Google’s first public model to support a feature called Dynamic Thinking, which allows the model to modulate the amount of reasoning that goes into an output. This is just the first step, though.

“I think right now, the 2.5 Pro model we ship still does overthink for simpler prompts in a way that we’re hoping to continue to improve,” Doshi said. “So one big area we are investing in is Dynamic Thinking as a way to get towards our [general availability] version of 2.5 Pro where it thinks even less for simpler prompts.”

Gemini models on phone

Credit: Ryan Whitwam

Google doesn’t break out earnings from its new AI ventures, but we can safely assume there’s no profit to be had. No one has managed to turn these huge LLMs into a viable business yet. OpenAI, which has the largest user base with ChatGPT, loses money even on the users paying for its $200 Pro plan. Google is planning to spend $75 billion on AI infrastructure in 2025, so it will be crucial to make the most of this very expensive hardware. Building models that don’t waste cycles on overthinking “Hi, how are you?” could be a big help.

Missing technical details

Google plays it close to the chest with Gemini, but the 2.5 Pro release has offered more insight into where the company plans to go than ever before. To really understand this model, though, we’ll need to see the technical report. Google last released such a document for Gemini 1.5. We still haven’t seen the 2.0 version, and we may never see that document now that 2.5 has supplanted 2.0.

Doshi notes that 2.5 Pro is still an experimental model. So, don’t expect full evaluation reports to happen right away. A Google spokesperson clarified that a full technical evaluation report on the 2.5 branch is planned, but there is no firm timeline. Google hasn’t even released updated model cards for Gemini 2.0, let alone 2.5. These documents are brief one-page summaries of a model’s training, intended use, evaluation data, and more. They’re essentially LLM nutrition labels. It’s much less detailed than a technical report, but it’s better than nothing. Google confirms model cards are on the way for Gemini 2.0 and 2.5.

Given the recent rapid pace of releases, it’s possible Gemini 2.5 Pro could be rolling out more widely around Google I/O in May. We certainly hope Google has more details when the 2.5 branch expands. As Gemini development picks up steam, transparency shouldn’t fall by the wayside.

Photo of Ryan Whitwam

Ryan Whitwam is a senior technology reporter at Ars Technica, covering the ways Google, AI, and mobile technology continue to change the world. Over his 20-year career, he’s written for Android Police, ExtremeTech, Wirecutter, NY Times, and more. He has reviewed more phones than most people will ever own. You can follow him on Bluesky, where you will see photos of his dozens of mechanical keyboards.

Gemini “coming together in really awesome ways,” Google says after 2.5 Pro release Read More »

eu-may-“make-an-example-of-x”-by-issuing-$1-billion-fine-to-musk’s-social-network

EU may “make an example of X” by issuing $1 billion fine to Musk’s social network

European Union regulators are preparing major penalties against X, including a fine that could exceed $1 billion, according to a New York Times report yesterday.

The European Commission determined last year that Elon Musk’s social network violated the Digital Services Act. Regulators are now in the process of determining what punishment to impose.

“The penalties are set to include a fine and demands for product changes,” the NYT report said, attributing the information to “four people with knowledge of the plans.” The penalty is expected to be issued this summer and would be the first one under the new EU law.

“European authorities have been weighing how large a fine to issue X as they consider the risks of further antagonizing [President] Trump amid wider trans-Atlantic disputes over trade, tariffs and the war in Ukraine,” the NYT report said. “The fine could surpass $1 billion, one person said, as regulators seek to make an example of X to deter other companies from violating the law, the Digital Services Act.”

X’s global government affairs account criticized European regulators in a post last night. “If the reports that the European Commission is considering enforcement actions against X are accurate, it represents an unprecedented act of political censorship and an attack on free speech,” X said. “X has gone above and beyond to comply with the EU’s Digital Services Act, and we will use every option at our disposal to defend our business, keep our users safe, and protect freedom of speech in Europe.”

Penalty math could include Musk’s other firms

The Digital Services Act allows fines of up to 6 percent of a company’s total worldwide annual turnover. EU regulators suggested last year that they could calculate fines by including revenue from Musk’s other companies, including SpaceX. Yesterday’s NYT report says this method is still under consideration:

EU may “make an example of X” by issuing $1 billion fine to Musk’s social network Read More »

bonobos’-calls-may-be-the-closest-thing-to-animal-language-we’ve-seen

Bonobos’ calls may be the closest thing to animal language we’ve seen

Bonobos, great apes related to us and chimpanzees that live in the Republic of Congo, communicate with vocal calls including peeps, hoots, yelps, grunts, and whistles. Now, a team of Swiss scientists led by Melissa Berthet, an evolutionary anthropologist at the University of Zurich, discovered bonobos can combine these basic sounds into larger semantic structures. In these communications, meaning is something more than just a sum of individual calls—a trait known as non-trivial compositionality, which we once thought was uniquely human.

To do this, Berthet and her colleagues built a database of 700 bonobo calls and deciphered them using methods drawn from distributional semantics, the methodology we’ve relied on in reconstructing long-lost languages like Etruscan or Rongorongo. For the first time, we have a glimpse into what bonobos mean when they call to each other in the wild.

Context is everything

The key idea behind distributional semantics is that when words appear in similar contexts, they tend to have similar meanings. To decipher an unknown language, you need to collect a large corpus of words and turn those words into vectors—mathematical representations that let you place them in a multidimensional semantic space. The second thing you need is context data, which tells you the circumstances in which these words were used (that gets vectorized, too). When you map your word vectors onto context vectors in this multidimensional space, what usually happens is that words with similar meaning end up close to each other. Berthet and her colleagues wanted to apply the same trick to bonobos’ calls. That seemed straightforward at first glance, but proved painfully hard to execute.

“We worked at a camp in the forest, got up super early at 3: 30 in the morning, walked one or two hours to get to the bonobos’ nest. At [the] time they would wake up, I would switch my microphone on for the whole day to collect as many vocalizations as I could,” Berthet says. Each recorded call then had to be annotated with a horribly long list of contextual parameters. Berthet had a questionnaire filled with queries like: is there a neighboring group around; are there predators around; is the caller feeding, resting, or grooming; is another individual approaching the caller, etc. There were 300 questions that had to be answered for each of the 700 recorded calls.

Bonobos’ calls may be the closest thing to animal language we’ve seen Read More »

spacex-just-took-a-big-step-toward-reusing-starship’s-super-heavy-booster

SpaceX just took a big step toward reusing Starship’s Super Heavy booster

SpaceX is having trouble with Starship’s upper stage after back-to-back failures, but engineers are making remarkable progress with the rocket’s enormous booster.

The most visible sign of SpaceX making headway with Starship’s first stage—called Super Heavycame at 9: 40 am local time (10: 40 am EDT; 14: 40 UTC) Thursday at the company’s Starbase launch site in South Texas. With an unmistakable blast of orange exhaust, SpaceX fired up a Super Heavy booster that has already flown to the edge of space. The burn lasted approximately eight seconds.

This was the first time SpaceX has test-fired a “flight-proven” Super Heavy booster, and it paves the way for this particular rocket—designated Booster 14—to fly again soon. SpaceX confirmed a reflight of Booster 14, which previously launched and returned to Earth in January, will happen on next Starship launch With Thursday’s static fire test, Booster 14 appears to be closer to flight readiness than any of the boosters in SpaceX’s factory, which is a short distance from the launch site.

SpaceX said 29 of the booster’s 33 methane-fueled Raptor engines are flight-proven. “The first Super Heavy reuse will be a step towards our goal of zero-touch reflight,” SpaceX wrote on X.

A successful reflight of the Super Heavy booster would be an important milestone for the Starship program, while engineers struggle with problems on the rocket’s upper stage, known simply as the ship.

What a difference

Super Heavy’s engines are capable of producing nearly 17 million pounds of thrust, twice the power of NASA’s Saturn V rocket that sent astronauts toward the Moon. Super Heavy is perhaps the most complex rocket booster ever built. It’s certainly the largest. To get a sense of how big this booster is, imagine the fuselage of a Boeing 747 jumbo jet standing on end.

SpaceX has now launched eight full-scale test flights of Starship, with a Super Heavy booster and Starship’s upper stage stacked together to form a rocket that towers 404 feet (123.1 meters) tall. The booster portion of the rocket has performed well so far, with seven consecutive successful launches since a failure on Starship’s debut flight.

Booster 14 comes in for the catch after flying to the edge of space on January 16. Credit: SpaceX

Most recently, SpaceX has recovered three Super Heavy boosters in four attempts. SpaceX has a wealth of experience with recovering and reusing Falcon 9 boosters. The total number of Falcon rocket landings is now 426.

SpaceX reused a Falcon 9 booster for the first time in March 2017. This was an operational flight with a communications satellite on a mission valued at several hundred million dollars.

Ahead of the milestone Falcon 9 reflight eight years ago, SpaceX spent nearly a year refurbishing and retesting the rocket after it returned from its first mission. The rocket racked up more mileage on the ground than it did in flight, first returning to its Florida launch base on a SpaceX drone ship and then moving by truck to SpaceX’s headquarters in Hawthorne, California, for thorough inspections and refurbishment.

SpaceX just took a big step toward reusing Starship’s Super Heavy booster Read More »

feeling-curious?-google’s-notebooklm-can-now-discover-data-sources-for-you

Feeling curious? Google’s NotebookLM can now discover data sources for you

In addition to the chatbot functionality, NotebookLM can use the source data to build FAQs, briefing summaries, and, of course, Audio Overviews—that’s a podcast-style conversation between two fake people, a feature that manages to be simultaneously informative and deeply unsettling. It’s probably the most notable capability of NotebookLM, though. Google recently brought Audio Overviews to its Gemini Deep Research product, too.

And that’s not all—Google is lowering the barrier to entry even more. You don’t even need to have any particular goal to play around with NotebookLM. In addition to the Discover button, Google has added an “I’m Feeling Curious” button, a callback to its iconic randomized “I’m feeling lucky” search button. Register your curiosity with NotebookLM, and it will seek out sources on a random topic.

Google says the new NotebookLM features are available starting today, but you might not see them right away. It could take about a week until everyone has Discover Sources and I’m Feeling Curious. Both of these features are available for free users, but be aware that the app has limits on the number of Audio Overviews and sources unless you pay for Google’s AI Premium subscription for $20 per month.

Feeling curious? Google’s NotebookLM can now discover data sources for you Read More »