The Apple TV platform, tvOS, and the original Apple TV app were initially intended to solve this problem by offering an a la carte, consumer-friendly way to manage the options in a burgeoning streaming-TV industry.
However, Apple’s attempt to make the TV app a universal hub of content has been continually stymied by the fact that industry giant Netflix has declined to participate.
Users of the TV app and Apple TV set-top-box still must launch a separate Netflix app to see their watch history on that service, or to see if movies or shows they want to watch are available. Content from most other services—including Amazon Prime Video—is exposable through search within the app and rolls into a unified watch history.
Fighting to succeed in a messy business
Further, streaming services have become increasingly expensive, and streamers have begun trying to find new revenue from sources like bundles and advertising. The reasons for these trends are complex, but one of the key problems is that scripted television content is immensely expensive to produce—especially as the prestige TV era has driven up viewer expectations in terms of quality and production values.
As an early leader in the industry, Netflix established unrealistic expectations for everyone involved—consumers, production houses, investors, and so on—by simply throwing immense amounts of money into content without immediately seeing a return.
When larger economic factors put an end to that practice, streamers had to adjust—including Apple, which among other things is tweaking its film strategy for the new landscape.
Apple still offers several of those central hub features—for example, you can subscribe to services like Paramount+ and launch their shows from the Apple TV app, just like Amazon is doing with its app and Apple TV+ here. But the realities of the mess the industry finds itself in have clearly led Apple to keep an open mind about how it can attract and retain viewers.
Enlarge/ A still from Wolfs, an Apple-produced film starring George Clooney and Brad Pitt.
Apple
For the past few years, Apple has been making big-budget movies meant to compete with the best traditional Hollywood studios have to offer, and it has been releasing them in theaters to drive ticket sales and awards buzz.
Much of that is about to change, according to a report from Bloomberg. The article claims that Apple is “rethinking its movie strategy” after several box office misfires, like Argylle and Napoleon.
It has already canceled the wide theatrical release of one of its tent pole movies, the George Clooney and Brad Pitt-led Wolfs. Most other upcoming big-budget movies from Apple will be released in just a few theaters, suggesting the plan is simple to ensure continued awards eligibility but not to put butts in seats.
Further, Apple plans to move away from super-budget films and to focus its portfolio on a dozen films a year at lower budgets. Just one major big-budget film is planned to get a wide theatrical release: F1. How that one performs could inform future changes to Apple’s strategy.
The report notes that Apple is not the only streamer changing its strategy. Netflix is reducing costs and bringing more movie production in-house, while Amazon is trying (so far unsuccessfully) to produce a higher volume of movies annually, but with a mixture of online-only and in-theater releases. It also points out that movie theater chains are feeling ever more financial pressure, as overall ticket sales haven’t matched their pre-pandemic levels despite occasional hits like Inside Out 2 and Deadpool & Wolverine.
Cinemas have been counting on streamers like Netflix and Apple to crank out films, but those hopes may be dashed if the media companies continue to pull back. For the most part, tech companies like Apple and Amazon have had better luck gaining buzz with television series than with feature films.
Too often, new tech product or service launches seem like solutions in search of a problem, but not this one: ESPN is launching software that lets you figure out just where you can watch the specific game you want to see amid an overcomplicated web of streaming services, cable channels, and arcane licensing agreements. Every sports fan is all too familiar with today’s convoluted streaming schedules.
Launching today on ESPN.com and the various ESPN mobile and streaming device apps, the new guide offers various views, including one that lists all the sporting events in a single day and a search function, among other things. You can also flag favorite sports or teams to customize those views.
“At the core of Where to Watch is an event database created and managed by the ESPN Stats and Information Group (SIG), which aggregates ESPN and partner data feeds along with originally sourced information and programming details from more than 250 media sources, including television networks and streaming platforms,” ESPN’s press release says.
ESPN previously offered browsable lists of games like this, but it didn’t identify where you could actually watch all the games.
There’s no guarantee that you’ll have access to the services needed to watch the games in the list, though. Those of us who cut the cable cord long ago know that some games—especially those local to your city—are unavailable without cable.
For example, I live within walking distance from Wrigley Field, but because I don’t have cable, I can’t watch most Cubs games on any screens in my home. As a former Angeleno, I follow the Dodgers instead because there are no market blackouts for me watching them all the way from Chicago. The reverse would be true if I were in LA.
Even if you do have cable, many sports are incredibly convoluted when it comes to figuring out where to watch stuff. ESPN Where to Watch could be useful for the new college football season, for example.
Expansion effort
ESPN isn’t the first company to envision this, though. The company to make the most progress up until now was Apple. Apple’s TV device and app was initially meant as a one-stop shop for virtually all streaming video, like a comprehensive 21st-century TV Guide. But with cable companies being difficult to work with and Netflix not participating, Apple never quite made that dream a reality.
It kept trying for sports, though, tying into third-party offerings like the MLB app alongside its own programming to try to make the TV app a place to launch all your games. Apple got pretty close, depending on which sport you’re trying to follow.
ESPN’s app seems a little more promising, as it covers a more comprehensive range of games and goes beyond the TV app’s “what’s happening right now” focus with better search and listings.
ESPN execs have said they hope to start offering more games streaming directly in the app, and if that app becomes the go-to spot thanks to this new guide, it might give the company more leverage with leagues to make that happen.
That could certainly be more convenient for viewers, though there are, of course, downsides to one company having too much influence and leverage in a sport.
Boundless premieres tonight, taking Vision Pro users on a hot air balloon ride in Turkey.
Submerged will be Apple’s first fictional short film for Vision Pro.
Users will get a glimpse into the 2024 NBA All-Star Weekend.
This cryptic image teases The Weeknd’s Vision Pro “experience.”
The new series Elevated will tour places of interest around the world from above.
Apple is partnering with Red Bull for a surfing documentary.
Wild Life returns with an episode about elephants in a wildlife preserve.
Today, Apple announced a slate of more than a dozen upcoming Immersive Videos for its Vision Pro spatial reality headset. The first, titled Boundless, launches tonight at 9 pm ET. More will follow in the coming weeks and months.
The announcement follows a long, slow period for new Vision Pro-specific video content from Apple. The headset launched in early February with a handful of Immersive Video episodes ranging from five to 15 minutes each. Since then, only three new videos have been added.
On March 28, Apple released a highlight reel of Major League Soccer plays from the season that had ended months prior. A second episode of Prehistoric Planet, Apple’s Immersive Video dinosaur nature documentary, went live on April 19. Likewise, a new episode of the Adventure series titled “Parkour” landed on May 24.
The MLS video played more like a short ad for Apple’s MLS programming than anything else, but other Immersive Videos have impressed with their quality if not their creative ambition. They’re all short videos that put the viewer inside a moment in space and time with either animals or people doing their thing. The videos are high-resolution, and the 3D is generally well done. The production values are high, even if the narratives are light. They come across as tech demos, as much as anything, but they are impressive.
Tonight’s Boundless episode will allow viewers to see what it’s like to ride in a hot air balloon over sweeping vistas. Another episode titled “Arctic Surfing” will arrive this fall, Apple says. Sometime next month, Apple will publish the second episode of its real wildlife documentary, simply titled Wild Life. The episode will focus on elephants in Kenya’s Sheldrick Wildlife Trust. Another episode is in the works, too. “Later this year,” Apple writes in its newsroom post, “viewers will brave the deep with a bold group of divers in the Bahamas, who come face-to-face with apex predators and discover creatures much more complex than often portrayed.”
More on the way
In September, we’ll see the debut of a new Immersive Video series titled Elevated. Apple describes it as an “aerial travel series” in which viewers will fly over places of interest. The first episode will take viewers to Hawaii, while another planned for later this year will go to New England.
Apple is additionally partnering with Red Bull for a look at surfing called Red Bull: Big-Wave Surfing.
In addition to those documentary episodes, there will be three short films by year’s end. One will be a musical experience featuring The Weeknd, and another will take basketball fans inside the 2024 NBA All-Star Weekend. There will also be Submerged, the first narrative fictional Immersive Video on the platform. It’s an action short film depicting struggles on a submarine during World War II.
It’s good to see Apple finally making some movement here; the drought of content after the launch didn’t inspire confidence in the platform. Many people with mixed reality headsets use them a bunch for a few weeks but either fail to find ways to fit them into their daily habits or run out of compelling content and taper off before long. To keep people invested in visionOS, Apple needs to keep a rapid cadence of new content that users look forward to at least every week. Otherwise, some users will see their headsets sit on shelves, forgotten.
When I reviewed the Vision Pro, I assumed that the Immersive Video episodes would roll out weekly. That hasn’t proven the case, and it still doesn’t look like it will. Apple is going to have to invest more in content (and take more risks with that content, moving beyond short tech demo documentaries) to make the Vision Pro stick with customers.
Enlarge/ Apple seeks to continue to augment its library of original films like Argylle with films from other studios.
Apple TV+ has carved a niche for itself with strong original programming, and while it’s still far behind the likes of Netflix in terms of subscribers, it has seen a fairly strong initial run. To build on that, Apple is talking with major studios about ways to complement its slate of original programming with films from other companies in order to expand and extend the service’s appeal.
That’s according to Bloomberg reporters Lucas Shaw and Thomas Buckley, who cite people familiar with Apple’s workings. Those sources say Apple is “having discussions” with more than one large film studio about bringing more movies to the service.
Apple previously experimented with this by licensing around 50 movies and making them available on the service for limited runs over the past several months. That experiment seems to have gone well, leading Apple to begin laying the groundwork for expanding on that.
That test run was just in the United States. Bloomberg claims the focus this time is international, with the possibility of new films not just in the US but in other regions, too.
Hollywood studios have reportedly been anticipating this move. As you may have noticed amid the numerous subscription service price hikes, media companies have begun putting greater emphasis on profitability after the conclusion of a long period where subscriber growth at any cost was the goal. Licensing deals like this can help with that new goal.
It’s worth noting that while Apple has found some big successes in terms of series (Ted Lasso, Severance, The Morning Show) it has struggled to make as much of an impact with its movies. Despite big stars and budgets, the films have not always made as much cultural impact as the shows.
That means that bringing in films from studios with a more proven record can be a win-win: It will help Apple bolster the TV+ subscription service while generating revenue for film studios that are struggling to keep up in the new era.
Services like TV+ are a growing part of Apple’s business, which has historically been focused on hardware sales. In the second quarter of its 2024 fiscal year, the services bucket accounted for $23.9 billion in quarterly revenue, which is more than half the revenue generated by iPhone hardware sales.
Enlarge/ A screenshot of tvOS 17. Recent betas have included evidence that Apple is working on a touchscreen-enabled version of the interface.
Andrew Cunningham
Apple’s tvOS betas are usually among its least exciting; the Apple TV’s operating system has changed so little in the last decade that the most exciting thing to happen to it in recent memory is an extra column of icons.
But this week’s tvOS 18 beta 3 release includes a hidden feature that might be exciting for smart speaker enthusiasts, if not for people who still want their Apple TV boxes to develop exciting new capabilities. 9to5Mac has discovered a touchscreen interface (codenamed “PlasterBoard”) inside of the latest beta, a sign that Apple is testing alternate input mechanisms for software that is currently manipulated via remote control and voice.
Last week, MacRumors also discovered a reference to a device called “HomeAccessory17,1” in Apple’s beta software, a naming convention similar to the “AudioAccessory” device identifiers that Apple uses for HomePod speakers. Together, these developments suggest that Apple is working on a version of the HomePod with an integrated touchscreen, a device that rumors have suggested could launch in 2024 or 2025. The company has reportedly been working on a smart home device with a screen since at least 2021.
MacRumors also points out that the 17,1 model identifier could imply that the new HomePod is being powered by Apple’s upcoming A18 chip—model identifiers across Apple’s product lineup are normally tied to chip generation rather than product generation, which is why the Vision Pro (for example) is called “RealityDevice14,1” rather than “RealityDevice1,1.” Using an A18 will presumably give a new HomePod the necessary speed to support upcoming Apple Intelligence features, including a new and improved version of Siri.
All HomePod speakers have been running a forked version of tvOS since version 13.4 of the HomePod software was released in early 2020, which is why HomePod-related leaks seem to be showing up in tvOS-related code. This would also explain why Apple would use tvOS as the basis for a HomePod with a screen rather than a version of iPadOS.
Apple’s take on an Amazon Echo Show
A version of tvOS running on a tablet-style device could use more than just a touch-driven interface to reach its full potential—a tvOS version of Safari would be useful for browsing recipe sites or casual reading while you’re doing something else, for example. However, what Apple adds depends on the form that the screen takes.
Some rumors have suggested that it would be a circular panel that replaces the swirling LEDs on the top of current-generation HomePods, but Bloomberg’s normally reliable Mark Gurman has described the display as “iPad-like,” suggesting that it could look more like a version of Amazon’s Echo Show. Amazon advertises its Show devices as digital photo frames, miniature TVs, and general kitchen aids, and Apple’s pitch for a screen-ified HomePod would likely feature a lot of the same uses.
Amazon has already released multiple generations of Echo Show devices, and Google has made a couple of stabs at the category, too. A HomePod with a screen, whether released in 2024 or 2025, would be far from the first of its kind. However, the HomePod wasn’t a cutting-edge product when it was released either, and it’s still managed to carve out a niche.
We don’t know what a HomePod with a screen might cost, but assuming it includes a HomePod-esque speaker, an iPad-esque screen, and a cutting-edge iPhone processor, it seems likely that it will be priced well above the $299 Apple currently charges for the full-size screen-less HomePod. Apple’s original $349 HomePod flopped partly because it was priced too high relative to competitors and because it didn’t do a whole lot—a speaker that did more things could probably be priced higher without drawing as much criticism.
Apple’s initial pitch for the tvOS and the Apple TV as it currently exists was centered around apps. No longer a mere streaming box, the Apple TV would also be a destination for general-purpose software and games, piggybacking off of the iPhone’s vibrant app and game library.
That never really panned out, and the Apple TV is still mostly a box for streaming TV shows and movies. But the same App Store rule change that recently allowed Delta, PPSSPP, and other retro console emulators onto the iPhone and iPad could also make the Apple TV appeal to people who want a small, efficient, no-fuss console emulator for their TVs.
So far, few of the emulators that have made it to the iPhone have been ported to the Apple TV. But earlier this week, the streaming box got an official port of RetroArch, the sprawling collection of emulators that runs on everything from the PlayStation Portable to the Raspberry Pi. RetroArch could be sideloaded onto iOS and tvOS before this, but only using awkward workarounds that took a lot more work and know-how than downloading an app from the App Store.
Downloading and using RetroArch on the Apple TV is a lot like using it on any other platform it supports, for better or worse. ROM files can be uploaded using a browser connected to the Apple TV’s IP address or hostname, which will pop up the first time you launch the RetroArch app. From there, you’re only really limited by the list of emulators that the Apple TV version of the app supports.
The main benefit of using the Apple TV hardware for emulation is that even older models have substantially better CPU and GPU performance than any Raspberry Pi; the first-gen Apple TV 4K and its Apple A10X chip date back to 2017 and still do better than a Pi 5 released in 2023. Even these older models should be more than fast enough to support advanced video filters, like Run Ahead, to reduce wireless controller latency and higher-than-native-resolution rendering to make 3D games look a bit more modern.
Beyond the hardware, tvOS is also a surprisingly capable gaming platform. Apple has done a good job adding and maintaining support for new Bluetooth gamepads in recent releases, and even Nintendo’s official Switch Online controllers for the NES, SNES, and N64 are all officially supported as of late 2022. Apple may have added this gamepad support primarily to help support its Apple Arcade service, but all of those gamepads work equally well with RetroArch.
At the risk of stating the obvious, another upside of using the Apple TV for retro gaming is that you can also still use it as a modern 4K video streaming box when you’re finished playing your games. It has well-supported apps from just about every streaming provider, and it supports all the DRM that these providers insist on when you’re trying to stream high-quality 4K video with modern codecs. Most Pi gaming distributions offer the Kodi streaming software, but it’s frankly outside the scope of this article to talk about the long list of caveats and add-ons you’d need to use to attempt using the same streaming services the Apple TV can access.
Obviously, there are trade-offs. Pis have been running retro games for a decade, and the Apple TV is just starting to be able to do it now. Even with the loosened App Store restrictions, Apple still has other emulation limitations relative to a Raspberry Pi or a PC.
The biggest one is that emulators on Apple’s platforms can’t use just-in-time (JIT) code compilation, needed for 3D console emulators like Dolphin. These restrictions make the Apple TV a less-than-ideal option for emulating newer consoles—the Nintendo 64, Nintendo DS, Sony PlayStation, PlayStation Portable, and Sega Saturn are the newest consoles RetroArch supports on the Apple TV, cutting out newer things like the GameCube and Wii, Dreamcast, and PlayStation 2 that are all well within the capabilities of Apple’s chips. Apple also insists nebulously that emulators must be for “retro” consoles rather than modern ones, which could limit the types of emulators that are available.
With respect to RetroArch specifically, there are other limitations. Though RetroArch describes itself as a front-end for emulators, its user interface is tricky to navigate, and cluttered with tons of overlapping settings that make it easy to break things if you don’t know what you’re doing. Most Raspberry Pi gaming distros use RetroArch, but with a front-end-for-a-front-end like EmulationStation installed to make RetroArch a bit more accessible and easy to learn. A developer could release an app that included RetroArch plus a separate front-end, but Apple’s sandboxing restrictions would likely prevent anyone from releasing an app that just served as a more user-friendly front-end for the RetroArch app.
Regardless, it’s still pretty cool to be able to play retro games on an Apple TV’s more advanced hardware. As more emulators make their way to the App Store, the Apple TV’s less-fussy software and the power of its hardware could make it a compelling alternative to a more effort-intensive Raspberry Pi setup.
The Daily Show host Jon Stewart’s interview with FTC Chair Lina Khan. The conversation about Apple begins around 16: 30 in the video.
Before the cancellation of The Problem with Jon Stewart on Apple TV+, Apple forbade the inclusion of Federal Trade Commission Chair Lina Khan as a guest and steered the show away from confronting issues related to artificial intelligence, according to Jon Stewart.
This isn’t the first we’ve heard of this rift between Apple and Stewart. When the Apple TV+ show was canceled last October, reports circulated that he told his staff that creative differences over guests and topics were a factor in the decision.
The New York Times reported that both China and AI were sticking points between Apple and Stewart. Stewart confirmed the broad strokes of that narrative in a CBS Morning Show interview after it was announced that he would return to The Daily Show.
“They decided that they felt that they didn’t want me to say things that might get me into trouble,” he explained.
Stewart’s comments during his interview with Khan yesterday were the first time he’s gotten more specific publicly.
“I’ve got to tell you, I wanted to have you on a podcast, and Apple asked us not to do it—to have you. They literally said, ‘Please don’t talk to her,'” Stewart said while interviewing Khan on the April 1, 2024, episode of The Daily Show.
Khan appeared on the show to explain and evangelize the FTC’s efforts to battle corporate monopolies both in and outside the tech industry in the US and to explain the challenges the organization faces.
She became the FTC chair in 2021 and has since garnered a reputation for an aggressive and critical stance against monopolistic tendencies or practices among Big Tech companies like Amazon and Meta.
Stewart also confirmed previous reports that AI was a sensitive topic for Apple. “They wouldn’t let us do that dumb thing we did in the first act on AI,” he said, referring to the desk monologue segment that preceded the Khan interview in the episode.
The segment on AI in the first act of the episode mocked various tech executives for their utopian framing of AI and interspersed those claims with acknowledgments from many of the same leaders that AI would replace many people’s jobs. (It did not mention Apple or its leadership, though.)
Stewart and The Daily Show‘s staff also included clips of current tech leaders suggesting that workers be retrained to work with or on AI when their current roles are disrupted by it. That was followed by a montage of US political leaders promising to retrain workers after various technological and economic disruptions over the years, with the implication that those retraining efforts were rarely as successful as promised.
The segment effectively lampooned some of the doublespeak about AI, though Stewart stopped short of venturing any solutions or alternatives to the current path, so it mostly just prompted outrage and laughs.
The Daily Show host Jon Stewart’s segment criticizing tech and political leaders on the topic of AI.
Apple currently uses AI-related technologies in its software, services, and devices, but so far it has not launched anything tapping into generative AI, which is the new frontier in AI that has attracted worry, optimism, and criticism from various parties.
However, the company is expected to roll out its first generative AI features as part of iOS 18, a new operating system update for iPhones. iOS 18 will likely be detailed during Apple’s annual developer conference in June and will reach users’ devices sometime in the fall.
The Apple Vision Pro with AirPods Pro, Magic Keyboard, Magic Trackpad, and an Xbox Series X|S controller.
Samuel Axon
You can see the front-facing cameras that handle passthrough video just above the down-facing cameras that read your hand gestures here.
Samuel Axon
There are two buttons for Vision Pro, both on the top.
Samuel Axon
This is the infamous battery pack. It’s about the size of an iPhone (but a little thicker) and has a USB-C port for external power sources.
Samuel Axon
There are two displays inside the Vision Pro, one for each eye. Each offers just under 4K resolution.
Samuel Axon
Apple offers several variations of the light seal to fit different face shapes.
Samuel Axon
A close-up look at the Vision Pro from the front.
Samuel Axon
The Vision Pro is the strangest product Apple has introduced in the time I’ve been covering the company. By now, it’s well established that the headset is both impressively cutting-edge and ludicrously expensive.
You could certainly argue that its price means it’s only for Silicon Valley techno-optimists with too much money to burn or for developers looking to get in on the ground floor on the chance that this is the next gold rush for apps. But the platform will need more than those users to succeed.
Part of Apple’s pitch behind the price tag seems to be that the Vision Pro could replace several devices, just like the iPhone did back in the late 2000s. It could replace your laptop, your tablet, your 4K TV, your video game console, your phone or other communications device, your VR headset, and so on. If it truly replaced all of those things, the price wouldn’t seem quite so outrageous to some.
And those are just the use cases Apple has put a lot of effort into facilitating for the launch. Many of the most important uses of the company’s prior new product categories didn’t become totally clear until a couple of years and generations in. The iPhone wasn’t originally intended as a meditation aid, a flashlight, and a number of other common uses until third-party developers invented apps to make it do those things. And Apple’s approach with the Apple Watch seemed to be to just throw it out there with a number of possible uses to see what stuck with users. (The answer seemed to be health and fitness, but the device’s distinct emphasis on that took a bit of time to come into focus.)
So while I could write a dense review meandering through all the possibilities based on my week with the Vision Pro, that doesn’t seem as helpful as drilling in on each specific possibility. This is the first in a series of articles that will do that, so consider it part one of a lengthy, multi-step review. By the end, we’ll have considered several possible applications of the device, and we might be able to make some recommendations or predictions about its potential.
So far, I believe there’s one use case that’s a slam dunk, closer to clarity during launch week than any of the others: entertainment. For certain situations, The Vision Pro is a better device for consuming TV shows and movies (among other things) away from a dedicated theater than we’ve ever seen before. So let’s start there.
My (perhaps too) exacting standards
I know I’m not the usual TV consumer. It’s important to note that before we get too deep.
I bought my first OLED television (a 55-inch LG B6) in 2016. I previously had a 50-inch plasma TV I liked, but it only supported 1080p and SDR (standard dynamic range), and Sony had announced the PlayStation 4 Pro, which would support 4K games (sort of) and HDR (high dynamic range). Game consoles had always driven TV purchases in the past, so I sprung for the best I could afford.
I always cared about picture quality before I bought an OLED, but that interest turned into something more obsessive at that point. I was stunned at the difference, and I began to find it hard to accept the imperfections of LCD monitors and TVs after that. Granted, I’d always disliked LCDs, going straight from CRT to plasma to avoid that grayish backlight glow. But the comparison was even harsher once I went to OLED.
My fellow Ars Technica writers and editors often talk about their robust, multi-monitor PC setups, their expensive in-home server racks, and other Ars-y stuff. I have some of that stuff, too, but I put most of my time and energy into my home theater. I’ve invested a lot into it, and that has the unfortunate side effect of making most other screens I use feel inadequate by comparison.
All that said, some have argued that the Vision Pro is a solution in search of a problem, but there is one pre-existing problem I have that it has the potential to solve.
I travel a lot, so I spend a total of at least two months out of every year in hotel or Airbnb rooms. Whenever I’m in one of those places, I’m always irritated at how its TV compares to the one I have at home. It’s too small for the space, it’s not 4K, it doesn’t support HDR, it’s mounted way too high to comfortably watch, or it’s a cheap LCD with washed-out black levels and terrible contrast. Often, it’s all of the above. And even when I’m home, my wife might want to watch her shows on the big TV tonight.
I end up not watching movies or shows I want to watch because I feel like I’d be doing those shows a disservice by ruining the picture with such terrible hardware. “Better to hold off until I’m home,” I tell myself.
The Vision Pro could be the answer I’ve been waiting for. Those two displays in front of my eyes are capable of displaying an image that stands up to that of a mid-range OLED TV in most situations, and I can use it absolutely anywhere.
Enlarge/ Our two main heroes so far, Buck and Bucky. Or possibly Bucky and Buck. I forget which is which.
I’m writing this article under duress because it’s not going to create anything new or try to make the world a better place—instead, I’m going to do the thing where a critic tears down the work of others rather than offering up their own creation to balance the scales. So here we go: I didn’t like the first two episodes of Masters of the Air, and I don’t think I’ll be back for episode three.
The feeling that the show might not turn out to be what I was hoping for has been growing in my dark heart since catching the first trailer a month or so ago—it looked both distressingly digital and also maunderingly maudlin, with Austin Butler’s color-graded babyface peering out through a hazy, desaturated cloud of cigarette smoke and 1940s World War II pilot tropes. Unfortunately, the show at release made me feel exactly how I feared it might—rather than recapturing the magic of Band of Brothers or the horror of The Pacific,Masters so far has the depth and maturity of a Call of Duty cutscene.
Enlarge/ Does this man look old enough to be allowed to fly that plane?
Apple
World War Blech
After two episodes, I feel I’ve seen everything Masters has to offer: a dead-serious window into the world of B-17 Flying Fortress pilots, wholly lacking any irony or sense of self-awareness. There’s no winking and nodding to the audience, no joking around, no historic interviews with salt-and-pepper veterans to humanize the cast. The only thing allowed here is wall-to-wall jingoistic patriotism—the kind where there’s no room for anything except God, the United States of America, and bombing the crap out of the enemy. And pining wistfully for that special girl waiting at home.
Butler clearly gives a solid performance, but the man’s face is too perfect, like an Army Air Corps recruiting poster, with his tall hair and his cap parked jauntily at an angle atop it. He’s pretty to the point of being a distraction in every single scene he’s in. He noted in interviews that he signed up to work with a dialect coach to drop the Elvis accent he picked up while filming with Baz Luhrmann, and being notionally a cowboy from Casper, Wyoming, he wears his character’s “well, aw, shucks” down-home attitude as comfortably as the silk aviator’s scarf around his neck. But at least to this native Texan’s ear, there’s still a lot of Memphis coming out of the man’s mouth.
Every member of the cast has their 1940s-ness dialed up to 11—and perhaps that’s appropriate, given that World War II ended 80 years ago and “World War II” is fully a period aesthetic at this point, with its own rules and visuals any audience will expect to see. But the show wastes no opportunity to ram home that ’40s feeling—every room is dimly lit, and every Allied office feels like a ramshackle clapboard mess. Each scene’s framing feels like it was carefully assembled from comic book clippings, with barely disguised CGI trickery to keep everything hanging together. Watching in 4K HDR was beautiful, but it also made me cringe repeatedly whenever a VFX shot with bad tracking or bad color matching would flash past. There’s just nowhere to hide the digital-ness of it all, and boy, does it ever shine through. The overall effect is less like Saving Private Ryan and more like Sucker Punch—with a bit of Sky Captain and the World of Tomorrow thrown in.
Apple yesterday released iOS and iPadOS 17.3 as well as watchOS 10.3, tvOS 17.3, and macOS Sonoma 14.3 for all supported devices.
iOS 17.3 primarily adds collaborative playlists in Apple Music, and what Apple calls “Stolen Device Protection.” Collaborative playlists have been on a bit of a journey; they were promised as part of iOS 17, then added in the beta of iOS 17.2, but removed before that update went live. Now they’re finally reaching all users.
When enabled, Stolen Device Protection requires Face ID or Touch ID authentication “with no passcode fallback” for some sensitive actions on the phone.
And a related feature called Security Delay requires one use of Face ID or Touch ID, then a full hour’s wait, then another biometric authentication before certain particularly important actions can be performed, like changing the device’s passcode.
Other iOS 17.3 additions include support for AirPlay in participating hotels, an improved view for seeing the warranty status of all your devices, a new Unity wallpaper honoring Black History Month, and “crash detection optimizations.”
As is so often the case for these simultaneous operating system updates from Apple, iOS is the most robust. macOS 14.3 also adds the collaborative playlist feature and the AppleCare & Warranty Settings panel, but that’s about it as far as user-facing additions.
watchOS 10.3 adds a new 2024 Black Unity face that is meant to pair with a new watchband by the same name. And tvOS 17.3 simply reintroduces the previously removed iTunes Movie and TV Show Wishlist feature.
iOS 17.3 release notes
Stolen Device Protection
Stolen Device Protection increases security of iPhone and Apple ID by requiring Face ID or Touch ID with no passcode fallback to perform certain actions
Security Delay requires Face ID or Touch ID, an hour wait, and then an additional successful biometric authentication before sensitive operations like changing device passcode or Apple ID password can be performed
Lock Screen
New Unity wallpaper honors Black history and culture in celebration of Black History Month
Music
Collaborate on playlists allows you to invite friends to join your playlist and everyone can add, reorder, and remove songs
Emoji reactions can be added to any track in a collaborative playlist
This update also includes the following improvements:
AirPlay hotel support lets you stream content directly to the TV in your room in select hotels
AppleCare & Warranty in Settings shows your coverage for all devices signed in with your Apple ID
Crash detection optimizations (all iPhone 14 and iPhone 15 models)
macOS 14.3 Sonoma release notes
Collaborate on playlists in Apple Music allows you to invite friends to join your playlist and everyone can add, reorder, and remove songs
Emoji reactions can be added to any track in a collaborative playlist in Apple Music
AppleCare & Warranty in Settings shows your coverage for all devices signed in with your Apple ID
