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said it is joining forces with Microsoft, SpaceX, IBM, and other tech companies to build and share open-source AI security tools.

The new Open Secure AI Alliance said open tools are required to effectively defend against attacks from frontier models. The initiative is a direct response to mounting concerns over the safety of advanced AI systems after a rogue OpenAI model escaped containment and attacked another company during testing. That company, Hugging Face, said it was forced to use a Chinese open-weight model to defend itself due to the strict safety guardrails limiting the usefulness of top US models.

Founding members include Palantir, OpenClaw, the Linux Foundation, Cloudflare, Cloudera, Dell, Cisco, Adobe, Siemens, and DoorDash. Conspicuously absent are leading US AI companies, including OpenAI, Google, and Anthropic.

The alliance arrives amid growing tensions over whether the world’s most capable AI models should remain open. Chinese companies have released increasingly powerful open-weight models, notably Moonshot AI’s Kimi K3, challenging the strategy pursued by US labs that have largely kept frontier systems closed and proprietary. Nvidia and its partners argue that securing AI requires access to both closed and open models, stressing that defenders need the tools to counter emerging threats.

The announcement also follows reports that the Trump administration considered restricting access to cutting-edge Chinese models and an industry movement — again spearheaded by Nvidia — defending the need for openness in AI. Google and OpenAI signed that letter belatedly, too, though Anthropic remains absent.

#Nvidia #Microsoft #launch #open #security #alliance #OpenAI #Google #AnthropicAI,News,Nvidia,Tech"> Nvidia, Microsoft launch open AI security alliance — without OpenAI, Google, or AnthropicNvidia on Monday said it is joining forces with Microsoft, SpaceX, IBM, and other tech companies to build and share open-source AI security tools.The new Open Secure AI Alliance said open tools are required to effectively defend against attacks from frontier models. The initiative is a direct response to mounting concerns over the safety of advanced AI systems after a rogue OpenAI model escaped containment and attacked another company during testing. That company, Hugging Face, said it was forced to use a Chinese open-weight model to defend itself due to the strict safety guardrails limiting the usefulness of top US models.Founding members include Palantir, OpenClaw, the Linux Foundation, Cloudflare, Cloudera, Dell, Cisco, Adobe, Siemens, and DoorDash. Conspicuously absent are leading US AI companies, including OpenAI, Google, and Anthropic.The alliance arrives amid growing tensions over whether the world’s most capable AI models should remain open. Chinese companies have released increasingly powerful open-weight models, notably Moonshot AI’s Kimi K3, challenging the strategy pursued by US labs that have largely kept frontier systems closed and proprietary. Nvidia and its partners argue that securing AI requires access to both closed and open models, stressing that defenders need the tools to counter emerging threats.The announcement also follows reports that the Trump administration considered restricting access to cutting-edge Chinese models and an industry movement — again spearheaded by Nvidia — defending the need for openness in AI. Google and OpenAI signed that letter belatedly, too, though Anthropic remains absent.#Nvidia #Microsoft #launch #open #security #alliance #OpenAI #Google #AnthropicAI,News,Nvidia,Tech
Tech-news

said it is joining forces with Microsoft, SpaceX, IBM, and other tech companies to build and share open-source AI security tools.

The new Open Secure AI Alliance said open tools are required to effectively defend against attacks from frontier models. The initiative is a direct response to mounting concerns over the safety of advanced AI systems after a rogue OpenAI model escaped containment and attacked another company during testing. That company, Hugging Face, said it was forced to use a Chinese open-weight model to defend itself due to the strict safety guardrails limiting the usefulness of top US models.

Founding members include Palantir, OpenClaw, the Linux Foundation, Cloudflare, Cloudera, Dell, Cisco, Adobe, Siemens, and DoorDash. Conspicuously absent are leading US AI companies, including OpenAI, Google, and Anthropic.

The alliance arrives amid growing tensions over whether the world’s most capable AI models should remain open. Chinese companies have released increasingly powerful open-weight models, notably Moonshot AI’s Kimi K3, challenging the strategy pursued by US labs that have largely kept frontier systems closed and proprietary. Nvidia and its partners argue that securing AI requires access to both closed and open models, stressing that defenders need the tools to counter emerging threats.

The announcement also follows reports that the Trump administration considered restricting access to cutting-edge Chinese models and an industry movement — again spearheaded by Nvidia — defending the need for openness in AI. Google and OpenAI signed that letter belatedly, too, though Anthropic remains absent.

#Nvidia #Microsoft #launch #open #security #alliance #OpenAI #Google #AnthropicAI,News,Nvidia,Tech">Nvidia, Microsoft launch open AI security alliance — without OpenAI, Google, or Anthropic

Nvidia on Monday said it is joining forces with Microsoft, SpaceX, IBM, and other tech companies to build and share open-source AI security tools.

The new Open Secure AI Alliance said open tools are required to effectively defend against attacks from frontier models. The initiative is a direct response to mounting concerns over the safety of advanced AI systems after a rogue OpenAI model escaped containment and attacked another company during testing. That company, Hugging Face, said it was forced to use a Chinese open-weight model to defend itself due to the strict safety guardrails limiting the usefulness of top US models.

Founding members include Palantir, OpenClaw, the Linux Foundation, Cloudflare, Cloudera, Dell, Cisco, Adobe, Siemens, and DoorDash. Conspicuously absent are leading US AI companies, including OpenAI, Google, and Anthropic.

The alliance arrives amid growing tensions over whether the world’s most capable AI models should remain open. Chinese companies have released increasingly powerful open-weight models, notably Moonshot AI’s Kimi K3, challenging the strategy pursued by US labs that have largely kept frontier systems closed and proprietary. Nvidia and its partners argue that securing AI requires access to both closed and open models, stressing that defenders need the tools to counter emerging threats.

The announcement also follows reports that the Trump administration considered restricting access to cutting-edge Chinese models and an industry movement — again spearheaded by Nvidia — defending the need for openness in AI. Google and OpenAI signed that letter belatedly, too, though Anthropic remains absent.

#Nvidia #Microsoft #launch #open #security #alliance #OpenAI #Google #AnthropicAI,News,Nvidia,Tech

Nvidia on Monday said it is joining forces with Microsoft, SpaceX, IBM, and other tech…

The Stepback, a weekly newsletter breaking down one essential story from the tech world. For more on all things vertical video, follow David Pierce. The Stepback arrives in our subscribers’ inboxes on Sunday at 8AM ET. Opt in for The Stepback here.

For a while, every social and media platform had its own identity. YouTube was for clips of TV shows and movies, and the home of so many members of a burgeoning creator community. Instagram was mostly pictures. Netflix was trying to be the on-demand HBO. Facebook was about friends. Twitter was about news. Snapchat was a messaging app.

All these apps did have one important thing in common, though: They were growing up alongside the smartphone. Billions of new people were coming online for the first time, and they began to make content that made sense for the tall, skinny new devices in their hands. Selfies were a vertical art form, both because the photos filled the screen better and because it was just easier to hold the phone and take the photo that way. Some resisted the idea of vertical video for years — they’d argue that our eyes are meant to scan horizontally rather than vertically, and that vertical video looked bad on widescreen laptops. But ultimately phones won, and we hold our phones upright, so our phone experiences turned upright. That includes entertainment.

As has been true so many times, Snap figured this out before anyone. It launched Stories in late 2013 as a slightly more relaxed way to see what your friends are up to. CEO Evan Spiegel called it a “totally new way to share your day with friends — or everyone.” It took off in a massive way, and by the middle of 2014 was the most popular feature on Snapchat. That’s the kind of virality that Mark Zuckerberg tends to notice, and by August of 2016, the feature had been copied more or less exactly into Instagram. Kevin Systrom, then the CEO of Instagram, said of Spiegel and Snapchat that “they deserve all the credit” for Stories. The implication? That this was no longer a proprietary feature of a single social network; it was just in the air. Stories were for everyone. They started showing up on LinkedIn, Tinder, Medium, and so many other places.

Stories weren’t always video, but as cameras and upload speeds improved, video became the dominant medium in many ephemeral spaces. And video stories had two semi-magical properties: They were perfectly suited to endless, mindless scrolling, and they made it really easy to integrate ads. Only a few months after turning on Stories in Instagram, by which point half the platform’s users were already using Stories, Facebook began flooding ads into the product. The semi-randomness of Stories made ads actually seem less intrusive — you’d see a photo of a dog, a video of a hike, an ad for jeans, your friend’s makeup routine, brunch pics, an ad for blush. Video ads felt more premium, took up the whole screen, and were thus far more lucrative for the social platforms.

With apologies to the short, brilliant life of Vine, the six-second video platform that helped invent so much about the video-first social network, it wasn’t until TikTok took off that things really turned again. The platform launched in the US in 2018, but had been popular for a few years in China as Douyin and elsewhere as Musical.ly. TikTok combined the vertical-first format of Stories with the permanence of YouTube, but it also made video easier than ever. It had filters like Instagram and Snapchat, but also supplied a steady stream of video ideas through the platform’s many trends, offered access to music and sound effects, and made it easy to stitch or duet a video.

By defaulting to the purely algorithmic For You page, TikTok also freed creators from caring about curating their profile or worrying about posting too much — you could just pump out videos and trust the algorithm to deliver them. And so that’s what people did. Pretty quickly, TikTok became one of the fastest growing apps on the planet, and its daily usage numbers became the envy of the industry. Instagram may have had more users, but TikTok users spent far more time TikToking.

When TikTok became a phenomenon, just about everyone jumped on the vertical video bandwagon. Reels launched in 2020 and became a core feature of both Instagram and Facebook; YouTube created Shorts a year later. By the end of 2021, Twitter had both launched and killed a similar feature called Fleets. By this point, this kind of full-screen, vertical-scrolling video was part of the lingua franca of the smartphone. At the same time, in a search for ever more engagement, these platforms were learning another lesson from TikTok: to stop relying on your friends to post interesting content, and instead to show you whatever the algorithm thinks you might like. Social networks were gone, replaced by social media — entertainment with a comments section.

Short-form, vertical video has effectively won the internet. Business is booming, and viewers show no sign of tuning out. Meta said in 2024 that Instagram users were spending more than half their time in Reels, and said in 2025 the feature was turning into a $50 billion annual business across Meta’s apps. About 63 percent of young adults and teens are on TikTok, per Pew Research Center, and one in five teens reported being on the app “almost constantly.” YouTube reported 200 billion daily views of Shorts at the end of 2025, and said that Shorts earned more money per watch hour than standard YouTube videos.

The last three or four years have been about relentless standardization in social media. The pace with which these products copy each other, and regress back toward parity, has been absolutely astonishing. First, Shorts and Reels both aped TikTok’s design, its duetting and stitching, and its close relationship with sounds and music. Then they bought into TikTok’s idea of prioritizing content over connection — followers are dead, long live the algorithm. TikTok pushed hard into shopping, then suddenly Reels and Shorts became a lot more shoppable. YouTube began to grow on TVs, and suddenly TikTok and Instagram started investing in its own TV apps. Videos got longer and longer across platforms, to allow more ads. All the apps got really into livestreaming for a while. And micro dramas. They’ve relentlessly copied each other on big things like letting users control their algorithm, and small things like Clear Mode.

As the social platforms spin endlessly around each other, they’ve gotten some surprising company. Company after company started to notice their content floating around social media platforms, often in dubiously legal ways, and tried to take some of the watch time for themselves. Spotify decided it, too, wanted to be a video service, and built a vertical-scrolling feed for users to explore. Disney built a TikTok clone for ESPN and another for Disney Plus, both called Verts. Netflix, Prime Video, and Paramount Plus all called their clones Clips.

There are two reasons for the ongoing onslaught of short-form vertical video: time spent and advertising. The endlessly scrolling video feed turns out to be one of the most engrossing forms of entertainment ever devised (to the point that it has become a regulatory problem for the social platforms), and in a relentless competition for eyeballs and attention, it has become everyone’s best idea. In 2024, when Meta switched its default video player to a vertical-first layout across all platforms, the race was officially won.

Meanwhile, as those platforms have captured more of our time and attention, short-form video has become a dominant force of advertising on the internet, which means advertisers are already comfortable making ads designed to go between videos in the feed. And as so many companies turn to AI to do their ad targeting, all they really need is the creative to get started. “So long as clients give us different assets — a six-second ad, a 15-second ad, a long-format, a vertical ad — AI is essentially powering everything else,” YouTube’s Brian Albert told me last year. “From the audiences you’re reaching, to the contextual placements, to the ad that’s actually showing.” The combination of AI and vertical video has become a self-fulfilling prophecy: The more it wins, the easier it becomes for everyone else to get on board, and so it just keeps winning.

Vertical video haters, I have bad news: It’s only going to get worse. TikTok, YouTube, and Instagram are if anything going to become more short-form and vertical, since those short videos are easier to make and easier to load into endlessly scrolling feeds. Video services used to require you to pick something and press play, but now all they need is for you to open the app and they can start showing you ads. They’re not going to want to go back. Here’s how dominant video is: Facebook is testing a new version of the app that loads a full-screen video feed when you open the app. If that happens, there will be no Facebook — only Reels. After all this time, they’ve trained users to want and expect this kind of fast-paced, instant-gratification entertainment, to the point where even a full-length movie can feel like a chore.

Meanwhile, after years of raising prices, streaming services around the world are hoping they can turn to advertising to keep growing. For a while, they could coast on the back of linear TV, borrowing those ads to run on digital platforms. But a TikTok ad won’t make any sense on Netflix, so Netflix decided the best thing to do is build something that looks more like TikTok. A recent HubSpot report found that short-form video was by a wide margin both the most-used and most successful form of marketing content in 2025, and that it was the format in which marketers planned to invest the most this year.

All that said, there are glimmers of a bigger shift beginning to happen. Fed up with the algorithm, some users are starting to demand the return of friends and family in social media. But more broadly, more and more young people are deciding to put down their phones, resist the invasion of AI into their lives, and look for different kinds of entertainment. Movie theaters are having a big year; one of the year’s most exciting new phones is a flip phone. As long as we live in this era of social media and entertainment, vertical video is going to win. It would take a cultural revolution to stop it — and there might just be one brewing.

  • The best way to understand TikTok, Instagram, and Snapchat in particular right now is as a combination of two things: a streaming service and an inbox. Studies have found that the most popular thing to do is watch videos, and the second most popular thing is to send videos to someone else. Actually posting? Way down the list. (YouTube, by the way, is desperately trying to make DMs happen.)
  • If you’ve made it this far and you’re thinking, no way, you’re way overstating it? I’m so sorry to say this, but you might just be old. At this point, YouTube and Facebook cross generations and demographics, but Pew and others have found that TikTok, Snapchat, and Instagram are effectively ubiquitous among young people in particular.
  • It’s important to remember that views are lies. Everyone on the internet has an incentive to make their platform seem big and vibrant and popular, and they will invent whatever new metrics they need to do so.
  • New York published a great piece earlier this year about the shifting vibes on YouTube, and the ways in which the creator economy is being unmoored in part by the shift to vertical video. Yeah, the platforms have figured out how to make money from your video feed, but it’s not as simple for creators.
  • All the way back in 2015, The New York Times’ Farhad Manjoo made a good case for vertical video. It’s a fun reminder of just how contentious the idea was!
  • You should read my colleague Mia Sato’s story on the clip economy, which turns shows, movies, podcasts, and more into bite-size pieces for social platforms. It’s a weird industry, but it works — and you can see why the streamers want to compete.
  • Here’s a really good breakdown of all the things TikTok got right, from its algorithm to its whole approach to content. Every bit of it has been copied relentlessly ever since.
Follow topics and authors from this story to see more like this in your personalized homepage feed and to receive email updates.
#vertical #video #takeoverColumn,Creators,Facebook,Instagram,Meta,Social Media,Streaming,Tech,The Stepback,TikTok,YouTube"> The vertical video takeover is hereThis is The Stepback, a weekly newsletter breaking down one essential story from the tech world. For more on all things vertical video, follow David Pierce. The Stepback arrives in our subscribers’ inboxes on Sunday at 8AM ET. Opt in for The Stepback here.For a while, every social and media platform had its own identity. YouTube was for clips of TV shows and movies, and the home of so many members of a burgeoning creator community. Instagram was mostly pictures. Netflix was trying to be the on-demand HBO. Facebook was about friends. Twitter was about news. Snapchat was a messaging app.All these apps did have one important thing in common, though: They were growing up alongside the smartphone. Billions of new people were coming online for the first time, and they began to make content that made sense for the tall, skinny new devices in their hands. Selfies were a vertical art form, both because the photos filled the screen better and because it was just easier to hold the phone and take the photo that way. Some resisted the idea of vertical video for years — they’d argue that our eyes are meant to scan horizontally rather than vertically, and that vertical video looked bad on widescreen laptops. But ultimately phones won, and we hold our phones upright, so our phone experiences turned upright. That includes entertainment.As has been true so many times, Snap figured this out before anyone. It launched Stories in late 2013 as a slightly more relaxed way to see what your friends are up to. CEO Evan Spiegel called it a “totally new way to share your day with friends — or everyone.” It took off in a massive way, and by the middle of 2014 was the most popular feature on Snapchat. That’s the kind of virality that Mark Zuckerberg tends to notice, and by August of 2016, the feature had been copied more or less exactly into Instagram. Kevin Systrom, then the CEO of Instagram, said of Spiegel and Snapchat that “they deserve all the credit” for Stories. The implication? That this was no longer a proprietary feature of a single social network; it was just in the air. Stories were for everyone. They started showing up on LinkedIn, Tinder, Medium, and so many other places.Stories weren’t always video, but as cameras and upload speeds improved, video became the dominant medium in many ephemeral spaces. And video stories had two semi-magical properties: They were perfectly suited to endless, mindless scrolling, and they made it really easy to integrate ads. Only a few months after turning on Stories in Instagram, by which point half the platform’s users were already using Stories, Facebook began flooding ads into the product. The semi-randomness of Stories made ads actually seem less intrusive — you’d see a photo of a dog, a video of a hike, an ad for jeans, your friend’s makeup routine, brunch pics, an ad for blush. Video ads felt more premium, took up the whole screen, and were thus far more lucrative for the social platforms.With apologies to the short, brilliant life of Vine, the six-second video platform that helped invent so much about the video-first social network, it wasn’t until TikTok took off that things really turned again. The platform launched in the US in 2018, but had been popular for a few years in China as Douyin and elsewhere as Musical.ly. TikTok combined the vertical-first format of Stories with the permanence of YouTube, but it also made video easier than ever. It had filters like Instagram and Snapchat, but also supplied a steady stream of video ideas through the platform’s many trends, offered access to music and sound effects, and made it easy to stitch or duet a video.By defaulting to the purely algorithmic For You page, TikTok also freed creators from caring about curating their profile or worrying about posting too much — you could just pump out videos and trust the algorithm to deliver them. And so that’s what people did. Pretty quickly, TikTok became one of the fastest growing apps on the planet, and its daily usage numbers became the envy of the industry. Instagram may have had more users, but TikTok users spent far more time TikToking.When TikTok became a phenomenon, just about everyone jumped on the vertical video bandwagon. Reels launched in 2020 and became a core feature of both Instagram and Facebook; YouTube created Shorts a year later. By the end of 2021, Twitter had both launched and killed a similar feature called Fleets. By this point, this kind of full-screen, vertical-scrolling video was part of the lingua franca of the smartphone. At the same time, in a search for ever more engagement, these platforms were learning another lesson from TikTok: to stop relying on your friends to post interesting content, and instead to show you whatever the algorithm thinks you might like. Social networks were gone, replaced by social media — entertainment with a comments section.Short-form, vertical video has effectively won the internet. Business is booming, and viewers show no sign of tuning out. Meta said in 2024 that Instagram users were spending more than half their time in Reels, and said in 2025 the feature was turning into a  billion annual business across Meta’s apps. About 63 percent of young adults and teens are on TikTok, per Pew Research Center, and one in five teens reported being on the app “almost constantly.” YouTube reported 200 billion daily views of Shorts at the end of 2025, and said that Shorts earned more money per watch hour than standard YouTube videos.The last three or four years have been about relentless standardization in social media. The pace with which these products copy each other, and regress back toward parity, has been absolutely astonishing. First, Shorts and Reels both aped TikTok’s design, its duetting and stitching, and its close relationship with sounds and music. Then they bought into TikTok’s idea of prioritizing content over connection — followers are dead, long live the algorithm. TikTok pushed hard into shopping, then suddenly Reels and Shorts became a lot more shoppable. YouTube began to grow on TVs, and suddenly TikTok and Instagram started investing in its own TV apps. Videos got longer and longer across platforms, to allow more ads. All the apps got really into livestreaming for a while. And micro dramas. They’ve relentlessly copied each other on big things like letting users control their algorithm, and small things like Clear Mode.As the social platforms spin endlessly around each other, they’ve gotten some surprising company. Company after company started to notice their content floating around social media platforms, often in dubiously legal ways, and tried to take some of the watch time for themselves. Spotify decided it, too, wanted to be a video service, and built a vertical-scrolling feed for users to explore. Disney built a TikTok clone for ESPN and another for Disney Plus, both called Verts. Netflix, Prime Video, and Paramount Plus all called their clones Clips.There are two reasons for the ongoing onslaught of short-form vertical video: time spent and advertising. The endlessly scrolling video feed turns out to be one of the most engrossing forms of entertainment ever devised (to the point that it has become a regulatory problem for the social platforms), and in a relentless competition for eyeballs and attention, it has become everyone’s best idea. In 2024, when Meta switched its default video player to a vertical-first layout across all platforms, the race was officially won.Meanwhile, as those platforms have captured more of our time and attention, short-form video has become a dominant force of advertising on the internet, which means advertisers are already comfortable making ads designed to go between videos in the feed. And as so many companies turn to AI to do their ad targeting, all they really need is the creative to get started. “So long as clients give us different assets — a six-second ad, a 15-second ad, a long-format, a vertical ad — AI is essentially powering everything else,” YouTube’s Brian Albert told me last year. “From the audiences you’re reaching, to the contextual placements, to the ad that’s actually showing.” The combination of AI and vertical video has become a self-fulfilling prophecy: The more it wins, the easier it becomes for everyone else to get on board, and so it just keeps winning.Vertical video haters, I have bad news: It’s only going to get worse. TikTok, YouTube, and Instagram are if anything going to become more short-form and vertical, since those short videos are easier to make and easier to load into endlessly scrolling feeds. Video services used to require you to pick something and press play, but now all they need is for you to open the app and they can start showing you ads. They’re not going to want to go back. Here’s how dominant video is: Facebook is testing a new version of the app that loads a full-screen video feed when you open the app. If that happens, there will be no Facebook — only Reels. After all this time, they’ve trained users to want and expect this kind of fast-paced, instant-gratification entertainment, to the point where even a full-length movie can feel like a chore.Meanwhile, after years of raising prices, streaming services around the world are hoping they can turn to advertising to keep growing. For a while, they could coast on the back of linear TV, borrowing those ads to run on digital platforms. But a TikTok ad won’t make any sense on Netflix, so Netflix decided the best thing to do is build something that looks more like TikTok. A recent HubSpot report found that short-form video was by a wide margin both the most-used and most successful form of marketing content in 2025, and that it was the format in which marketers planned to invest the most this year.All that said, there are glimmers of a bigger shift beginning to happen. Fed up with the algorithm, some users are starting to demand the return of friends and family in social media. But more broadly, more and more young people are deciding to put down their phones, resist the invasion of AI into their lives, and look for different kinds of entertainment. Movie theaters are having a big year; one of the year’s most exciting new phones is a flip phone. As long as we live in this era of social media and entertainment, vertical video is going to win. It would take a cultural revolution to stop it — and there might just be one brewing.The best way to understand TikTok, Instagram, and Snapchat in particular right now is as a combination of two things: a streaming service and an inbox. Studies have found that the most popular thing to do is watch videos, and the second most popular thing is to send videos to someone else. Actually posting? Way down the list. (YouTube, by the way, is desperately trying to make DMs happen.)If you’ve made it this far and you’re thinking, no way, you’re way overstating it? I’m so sorry to say this, but you might just be old. At this point, YouTube and Facebook cross generations and demographics, but Pew and others have found that TikTok, Snapchat, and Instagram are effectively ubiquitous among young people in particular.It’s important to remember that views are lies. Everyone on the internet has an incentive to make their platform seem big and vibrant and popular, and they will invent whatever new metrics they need to do so.New York published a great piece earlier this year about the shifting vibes on YouTube, and the ways in which the creator economy is being unmoored in part by the shift to vertical video. Yeah, the platforms have figured out how to make money from your video feed, but it’s not as simple for creators. All the way back in 2015, The New York Times’ Farhad Manjoo made a good case for vertical video. It’s a fun reminder of just how contentious the idea was!You should read my colleague Mia Sato’s story on the clip economy, which turns shows, movies, podcasts, and more into bite-size pieces for social platforms. It’s a weird industry, but it works — and you can see why the streamers want to compete.Here’s a really good breakdown of all the things TikTok got right, from its algorithm to its whole approach to content. Every bit of it has been copied relentlessly ever since.Follow topics and authors from this story to see more like this in your personalized homepage feed and to receive email updates.David PierceCloseDavid PiercePosts from this author will be added to your daily email digest and your homepage feed.FollowFollowSee All by David PierceColumnCloseColumnPosts from this topic will be added to your daily email digest and your homepage feed.FollowFollowSee All ColumnCreatorsCloseCreatorsPosts from this topic will be added to your daily email digest and your homepage feed.FollowFollowSee All CreatorsFacebookCloseFacebookPosts from this topic will be added to your daily email digest and your homepage feed.FollowFollowSee All FacebookInstagramCloseInstagramPosts from this topic will be added to your daily email digest and your homepage feed.FollowFollowSee All InstagramMetaCloseMetaPosts from this topic will be added to your daily email digest and your homepage feed.FollowFollowSee All MetaSocial MediaCloseSocial MediaPosts from this topic will be added to your daily email digest and your homepage feed.FollowFollowSee All Social MediaStreamingCloseStreamingPosts from this topic will be added to your daily email digest and your homepage feed.FollowFollowSee All StreamingTechCloseTechPosts from this topic will be added to your daily email digest and your homepage feed.FollowFollowSee All TechThe StepbackCloseThe StepbackPosts from this topic will be added to your daily email digest and your homepage feed.FollowFollowSee All The StepbackTikTokCloseTikTokPosts from this topic will be added to your daily email digest and your homepage feed.FollowFollowSee All TikTokYouTubeCloseYouTubePosts from this topic will be added to your daily email digest and your homepage feed.FollowFollowSee All YouTube#vertical #video #takeoverColumn,Creators,Facebook,Instagram,Meta,Social Media,Streaming,Tech,The Stepback,TikTok,YouTube
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The Stepback, a weekly newsletter breaking down one essential story from the tech world. For more on all things vertical video, follow David Pierce. The Stepback arrives in our subscribers’ inboxes on Sunday at 8AM ET. Opt in for The Stepback here.

For a while, every social and media platform had its own identity. YouTube was for clips of TV shows and movies, and the home of so many members of a burgeoning creator community. Instagram was mostly pictures. Netflix was trying to be the on-demand HBO. Facebook was about friends. Twitter was about news. Snapchat was a messaging app.

All these apps did have one important thing in common, though: They were growing up alongside the smartphone. Billions of new people were coming online for the first time, and they began to make content that made sense for the tall, skinny new devices in their hands. Selfies were a vertical art form, both because the photos filled the screen better and because it was just easier to hold the phone and take the photo that way. Some resisted the idea of vertical video for years — they’d argue that our eyes are meant to scan horizontally rather than vertically, and that vertical video looked bad on widescreen laptops. But ultimately phones won, and we hold our phones upright, so our phone experiences turned upright. That includes entertainment.

As has been true so many times, Snap figured this out before anyone. It launched Stories in late 2013 as a slightly more relaxed way to see what your friends are up to. CEO Evan Spiegel called it a “totally new way to share your day with friends — or everyone.” It took off in a massive way, and by the middle of 2014 was the most popular feature on Snapchat. That’s the kind of virality that Mark Zuckerberg tends to notice, and by August of 2016, the feature had been copied more or less exactly into Instagram. Kevin Systrom, then the CEO of Instagram, said of Spiegel and Snapchat that “they deserve all the credit” for Stories. The implication? That this was no longer a proprietary feature of a single social network; it was just in the air. Stories were for everyone. They started showing up on LinkedIn, Tinder, Medium, and so many other places.

Stories weren’t always video, but as cameras and upload speeds improved, video became the dominant medium in many ephemeral spaces. And video stories had two semi-magical properties: They were perfectly suited to endless, mindless scrolling, and they made it really easy to integrate ads. Only a few months after turning on Stories in Instagram, by which point half the platform’s users were already using Stories, Facebook began flooding ads into the product. The semi-randomness of Stories made ads actually seem less intrusive — you’d see a photo of a dog, a video of a hike, an ad for jeans, your friend’s makeup routine, brunch pics, an ad for blush. Video ads felt more premium, took up the whole screen, and were thus far more lucrative for the social platforms.

With apologies to the short, brilliant life of Vine, the six-second video platform that helped invent so much about the video-first social network, it wasn’t until TikTok took off that things really turned again. The platform launched in the US in 2018, but had been popular for a few years in China as Douyin and elsewhere as Musical.ly. TikTok combined the vertical-first format of Stories with the permanence of YouTube, but it also made video easier than ever. It had filters like Instagram and Snapchat, but also supplied a steady stream of video ideas through the platform’s many trends, offered access to music and sound effects, and made it easy to stitch or duet a video.

By defaulting to the purely algorithmic For You page, TikTok also freed creators from caring about curating their profile or worrying about posting too much — you could just pump out videos and trust the algorithm to deliver them. And so that’s what people did. Pretty quickly, TikTok became one of the fastest growing apps on the planet, and its daily usage numbers became the envy of the industry. Instagram may have had more users, but TikTok users spent far more time TikToking.

When TikTok became a phenomenon, just about everyone jumped on the vertical video bandwagon. Reels launched in 2020 and became a core feature of both Instagram and Facebook; YouTube created Shorts a year later. By the end of 2021, Twitter had both launched and killed a similar feature called Fleets. By this point, this kind of full-screen, vertical-scrolling video was part of the lingua franca of the smartphone. At the same time, in a search for ever more engagement, these platforms were learning another lesson from TikTok: to stop relying on your friends to post interesting content, and instead to show you whatever the algorithm thinks you might like. Social networks were gone, replaced by social media — entertainment with a comments section.

Short-form, vertical video has effectively won the internet. Business is booming, and viewers show no sign of tuning out. Meta said in 2024 that Instagram users were spending more than half their time in Reels, and said in 2025 the feature was turning into a $50 billion annual business across Meta’s apps. About 63 percent of young adults and teens are on TikTok, per Pew Research Center, and one in five teens reported being on the app “almost constantly.” YouTube reported 200 billion daily views of Shorts at the end of 2025, and said that Shorts earned more money per watch hour than standard YouTube videos.

The last three or four years have been about relentless standardization in social media. The pace with which these products copy each other, and regress back toward parity, has been absolutely astonishing. First, Shorts and Reels both aped TikTok’s design, its duetting and stitching, and its close relationship with sounds and music. Then they bought into TikTok’s idea of prioritizing content over connection — followers are dead, long live the algorithm. TikTok pushed hard into shopping, then suddenly Reels and Shorts became a lot more shoppable. YouTube began to grow on TVs, and suddenly TikTok and Instagram started investing in its own TV apps. Videos got longer and longer across platforms, to allow more ads. All the apps got really into livestreaming for a while. And micro dramas. They’ve relentlessly copied each other on big things like letting users control their algorithm, and small things like Clear Mode.

As the social platforms spin endlessly around each other, they’ve gotten some surprising company. Company after company started to notice their content floating around social media platforms, often in dubiously legal ways, and tried to take some of the watch time for themselves. Spotify decided it, too, wanted to be a video service, and built a vertical-scrolling feed for users to explore. Disney built a TikTok clone for ESPN and another for Disney Plus, both called Verts. Netflix, Prime Video, and Paramount Plus all called their clones Clips.

There are two reasons for the ongoing onslaught of short-form vertical video: time spent and advertising. The endlessly scrolling video feed turns out to be one of the most engrossing forms of entertainment ever devised (to the point that it has become a regulatory problem for the social platforms), and in a relentless competition for eyeballs and attention, it has become everyone’s best idea. In 2024, when Meta switched its default video player to a vertical-first layout across all platforms, the race was officially won.

Meanwhile, as those platforms have captured more of our time and attention, short-form video has become a dominant force of advertising on the internet, which means advertisers are already comfortable making ads designed to go between videos in the feed. And as so many companies turn to AI to do their ad targeting, all they really need is the creative to get started. “So long as clients give us different assets — a six-second ad, a 15-second ad, a long-format, a vertical ad — AI is essentially powering everything else,” YouTube’s Brian Albert told me last year. “From the audiences you’re reaching, to the contextual placements, to the ad that’s actually showing.” The combination of AI and vertical video has become a self-fulfilling prophecy: The more it wins, the easier it becomes for everyone else to get on board, and so it just keeps winning.

Vertical video haters, I have bad news: It’s only going to get worse. TikTok, YouTube, and Instagram are if anything going to become more short-form and vertical, since those short videos are easier to make and easier to load into endlessly scrolling feeds. Video services used to require you to pick something and press play, but now all they need is for you to open the app and they can start showing you ads. They’re not going to want to go back. Here’s how dominant video is: Facebook is testing a new version of the app that loads a full-screen video feed when you open the app. If that happens, there will be no Facebook — only Reels. After all this time, they’ve trained users to want and expect this kind of fast-paced, instant-gratification entertainment, to the point where even a full-length movie can feel like a chore.

Meanwhile, after years of raising prices, streaming services around the world are hoping they can turn to advertising to keep growing. For a while, they could coast on the back of linear TV, borrowing those ads to run on digital platforms. But a TikTok ad won’t make any sense on Netflix, so Netflix decided the best thing to do is build something that looks more like TikTok. A recent HubSpot report found that short-form video was by a wide margin both the most-used and most successful form of marketing content in 2025, and that it was the format in which marketers planned to invest the most this year.

All that said, there are glimmers of a bigger shift beginning to happen. Fed up with the algorithm, some users are starting to demand the return of friends and family in social media. But more broadly, more and more young people are deciding to put down their phones, resist the invasion of AI into their lives, and look for different kinds of entertainment. Movie theaters are having a big year; one of the year’s most exciting new phones is a flip phone. As long as we live in this era of social media and entertainment, vertical video is going to win. It would take a cultural revolution to stop it — and there might just be one brewing.

  • The best way to understand TikTok, Instagram, and Snapchat in particular right now is as a combination of two things: a streaming service and an inbox. Studies have found that the most popular thing to do is watch videos, and the second most popular thing is to send videos to someone else. Actually posting? Way down the list. (YouTube, by the way, is desperately trying to make DMs happen.)
  • If you’ve made it this far and you’re thinking, no way, you’re way overstating it? I’m so sorry to say this, but you might just be old. At this point, YouTube and Facebook cross generations and demographics, but Pew and others have found that TikTok, Snapchat, and Instagram are effectively ubiquitous among young people in particular.
  • It’s important to remember that views are lies. Everyone on the internet has an incentive to make their platform seem big and vibrant and popular, and they will invent whatever new metrics they need to do so.
  • New York published a great piece earlier this year about the shifting vibes on YouTube, and the ways in which the creator economy is being unmoored in part by the shift to vertical video. Yeah, the platforms have figured out how to make money from your video feed, but it’s not as simple for creators.
  • All the way back in 2015, The New York Times’ Farhad Manjoo made a good case for vertical video. It’s a fun reminder of just how contentious the idea was!
  • You should read my colleague Mia Sato’s story on the clip economy, which turns shows, movies, podcasts, and more into bite-size pieces for social platforms. It’s a weird industry, but it works — and you can see why the streamers want to compete.
  • Here’s a really good breakdown of all the things TikTok got right, from its algorithm to its whole approach to content. Every bit of it has been copied relentlessly ever since.
Follow topics and authors from this story to see more like this in your personalized homepage feed and to receive email updates.

#vertical #video #takeoverColumn,Creators,Facebook,Instagram,Meta,Social Media,Streaming,Tech,The Stepback,TikTok,YouTube">The vertical video takeover is here

This is The Stepback, a weekly newsletter breaking down one essential story from the tech world. For more on all things vertical video, follow David Pierce. The Stepback arrives in our subscribers’ inboxes on Sunday at 8AM ET. Opt in for The Stepback here.

For a while, every social and media platform had its own identity. YouTube was for clips of TV shows and movies, and the home of so many members of a burgeoning creator community. Instagram was mostly pictures. Netflix was trying to be the on-demand HBO. Facebook was about friends. Twitter was about news. Snapchat was a messaging app.

All these apps did have one important thing in common, though: They were growing up alongside the smartphone. Billions of new people were coming online for the first time, and they began to make content that made sense for the tall, skinny new devices in their hands. Selfies were a vertical art form, both because the photos filled the screen better and because it was just easier to hold the phone and take the photo that way. Some resisted the idea of vertical video for years — they’d argue that our eyes are meant to scan horizontally rather than vertically, and that vertical video looked bad on widescreen laptops. But ultimately phones won, and we hold our phones upright, so our phone experiences turned upright. That includes entertainment.

As has been true so many times, Snap figured this out before anyone. It launched Stories in late 2013 as a slightly more relaxed way to see what your friends are up to. CEO Evan Spiegel called it a “totally new way to share your day with friends — or everyone.” It took off in a massive way, and by the middle of 2014 was the most popular feature on Snapchat. That’s the kind of virality that Mark Zuckerberg tends to notice, and by August of 2016, the feature had been copied more or less exactly into Instagram. Kevin Systrom, then the CEO of Instagram, said of Spiegel and Snapchat that “they deserve all the credit” for Stories. The implication? That this was no longer a proprietary feature of a single social network; it was just in the air. Stories were for everyone. They started showing up on LinkedIn, Tinder, Medium, and so many other places.

Stories weren’t always video, but as cameras and upload speeds improved, video became the dominant medium in many ephemeral spaces. And video stories had two semi-magical properties: They were perfectly suited to endless, mindless scrolling, and they made it really easy to integrate ads. Only a few months after turning on Stories in Instagram, by which point half the platform’s users were already using Stories, Facebook began flooding ads into the product. The semi-randomness of Stories made ads actually seem less intrusive — you’d see a photo of a dog, a video of a hike, an ad for jeans, your friend’s makeup routine, brunch pics, an ad for blush. Video ads felt more premium, took up the whole screen, and were thus far more lucrative for the social platforms.

With apologies to the short, brilliant life of Vine, the six-second video platform that helped invent so much about the video-first social network, it wasn’t until TikTok took off that things really turned again. The platform launched in the US in 2018, but had been popular for a few years in China as Douyin and elsewhere as Musical.ly. TikTok combined the vertical-first format of Stories with the permanence of YouTube, but it also made video easier than ever. It had filters like Instagram and Snapchat, but also supplied a steady stream of video ideas through the platform’s many trends, offered access to music and sound effects, and made it easy to stitch or duet a video.

By defaulting to the purely algorithmic For You page, TikTok also freed creators from caring about curating their profile or worrying about posting too much — you could just pump out videos and trust the algorithm to deliver them. And so that’s what people did. Pretty quickly, TikTok became one of the fastest growing apps on the planet, and its daily usage numbers became the envy of the industry. Instagram may have had more users, but TikTok users spent far more time TikToking.

When TikTok became a phenomenon, just about everyone jumped on the vertical video bandwagon. Reels launched in 2020 and became a core feature of both Instagram and Facebook; YouTube created Shorts a year later. By the end of 2021, Twitter had both launched and killed a similar feature called Fleets. By this point, this kind of full-screen, vertical-scrolling video was part of the lingua franca of the smartphone. At the same time, in a search for ever more engagement, these platforms were learning another lesson from TikTok: to stop relying on your friends to post interesting content, and instead to show you whatever the algorithm thinks you might like. Social networks were gone, replaced by social media — entertainment with a comments section.

Short-form, vertical video has effectively won the internet. Business is booming, and viewers show no sign of tuning out. Meta said in 2024 that Instagram users were spending more than half their time in Reels, and said in 2025 the feature was turning into a $50 billion annual business across Meta’s apps. About 63 percent of young adults and teens are on TikTok, per Pew Research Center, and one in five teens reported being on the app “almost constantly.” YouTube reported 200 billion daily views of Shorts at the end of 2025, and said that Shorts earned more money per watch hour than standard YouTube videos.

The last three or four years have been about relentless standardization in social media. The pace with which these products copy each other, and regress back toward parity, has been absolutely astonishing. First, Shorts and Reels both aped TikTok’s design, its duetting and stitching, and its close relationship with sounds and music. Then they bought into TikTok’s idea of prioritizing content over connection — followers are dead, long live the algorithm. TikTok pushed hard into shopping, then suddenly Reels and Shorts became a lot more shoppable. YouTube began to grow on TVs, and suddenly TikTok and Instagram started investing in its own TV apps. Videos got longer and longer across platforms, to allow more ads. All the apps got really into livestreaming for a while. And micro dramas. They’ve relentlessly copied each other on big things like letting users control their algorithm, and small things like Clear Mode.

As the social platforms spin endlessly around each other, they’ve gotten some surprising company. Company after company started to notice their content floating around social media platforms, often in dubiously legal ways, and tried to take some of the watch time for themselves. Spotify decided it, too, wanted to be a video service, and built a vertical-scrolling feed for users to explore. Disney built a TikTok clone for ESPN and another for Disney Plus, both called Verts. Netflix, Prime Video, and Paramount Plus all called their clones Clips.

There are two reasons for the ongoing onslaught of short-form vertical video: time spent and advertising. The endlessly scrolling video feed turns out to be one of the most engrossing forms of entertainment ever devised (to the point that it has become a regulatory problem for the social platforms), and in a relentless competition for eyeballs and attention, it has become everyone’s best idea. In 2024, when Meta switched its default video player to a vertical-first layout across all platforms, the race was officially won.

Meanwhile, as those platforms have captured more of our time and attention, short-form video has become a dominant force of advertising on the internet, which means advertisers are already comfortable making ads designed to go between videos in the feed. And as so many companies turn to AI to do their ad targeting, all they really need is the creative to get started. “So long as clients give us different assets — a six-second ad, a 15-second ad, a long-format, a vertical ad — AI is essentially powering everything else,” YouTube’s Brian Albert told me last year. “From the audiences you’re reaching, to the contextual placements, to the ad that’s actually showing.” The combination of AI and vertical video has become a self-fulfilling prophecy: The more it wins, the easier it becomes for everyone else to get on board, and so it just keeps winning.

Vertical video haters, I have bad news: It’s only going to get worse. TikTok, YouTube, and Instagram are if anything going to become more short-form and vertical, since those short videos are easier to make and easier to load into endlessly scrolling feeds. Video services used to require you to pick something and press play, but now all they need is for you to open the app and they can start showing you ads. They’re not going to want to go back. Here’s how dominant video is: Facebook is testing a new version of the app that loads a full-screen video feed when you open the app. If that happens, there will be no Facebook — only Reels. After all this time, they’ve trained users to want and expect this kind of fast-paced, instant-gratification entertainment, to the point where even a full-length movie can feel like a chore.

Meanwhile, after years of raising prices, streaming services around the world are hoping they can turn to advertising to keep growing. For a while, they could coast on the back of linear TV, borrowing those ads to run on digital platforms. But a TikTok ad won’t make any sense on Netflix, so Netflix decided the best thing to do is build something that looks more like TikTok. A recent HubSpot report found that short-form video was by a wide margin both the most-used and most successful form of marketing content in 2025, and that it was the format in which marketers planned to invest the most this year.

All that said, there are glimmers of a bigger shift beginning to happen. Fed up with the algorithm, some users are starting to demand the return of friends and family in social media. But more broadly, more and more young people are deciding to put down their phones, resist the invasion of AI into their lives, and look for different kinds of entertainment. Movie theaters are having a big year; one of the year’s most exciting new phones is a flip phone. As long as we live in this era of social media and entertainment, vertical video is going to win. It would take a cultural revolution to stop it — and there might just be one brewing.

  • The best way to understand TikTok, Instagram, and Snapchat in particular right now is as a combination of two things: a streaming service and an inbox. Studies have found that the most popular thing to do is watch videos, and the second most popular thing is to send videos to someone else. Actually posting? Way down the list. (YouTube, by the way, is desperately trying to make DMs happen.)
  • If you’ve made it this far and you’re thinking, no way, you’re way overstating it? I’m so sorry to say this, but you might just be old. At this point, YouTube and Facebook cross generations and demographics, but Pew and others have found that TikTok, Snapchat, and Instagram are effectively ubiquitous among young people in particular.
  • It’s important to remember that views are lies. Everyone on the internet has an incentive to make their platform seem big and vibrant and popular, and they will invent whatever new metrics they need to do so.
  • New York published a great piece earlier this year about the shifting vibes on YouTube, and the ways in which the creator economy is being unmoored in part by the shift to vertical video. Yeah, the platforms have figured out how to make money from your video feed, but it’s not as simple for creators.
  • All the way back in 2015, The New York Times’ Farhad Manjoo made a good case for vertical video. It’s a fun reminder of just how contentious the idea was!
  • You should read my colleague Mia Sato’s story on the clip economy, which turns shows, movies, podcasts, and more into bite-size pieces for social platforms. It’s a weird industry, but it works — and you can see why the streamers want to compete.
  • Here’s a really good breakdown of all the things TikTok got right, from its algorithm to its whole approach to content. Every bit of it has been copied relentlessly ever since.
Follow topics and authors from this story to see more like this in your personalized homepage feed and to receive email updates.
#vertical #video #takeoverColumn,Creators,Facebook,Instagram,Meta,Social Media,Streaming,Tech,The Stepback,TikTok,YouTube

This is The Stepback, a weekly newsletter breaking down one essential story from the tech…

Luke The Maker showed off a bizarre, 3D-printed, pistol-shaped case design for the popular minimalist Xteink X4 e-reader. The X4 lies vertically atop the plastic gun’s slide, with a cutout on the side to access its buttons. Though the frame was digitally modeled after a real gun, this “case” can’t shoot bullets. Squeezing the trigger does nothing at all. He calls his contraption the “Gundle.”

In a post showing off the wacky accessory, Luke (whose last name is Blackford) can be seen flipping through Cormac McCarthy’s Blood Meridian and J.D. Salinger’s The Catcher in the Rye before tossing the gun e-reader case in his car’s center console.

“The perfect e-reader for public reading,” text reads over the clip.

But even though this internet experiment is clearly intended as a joke or commentary, it’s possible future 3D printers won’t see it that way. Lawmakers in multiple states are pushing for laws mandating gun-blocking software on all new printers sold. This still-evolving technology would, in theory, scan every file before it’s physically printed and try to algorithmically determine whether it’s a firearm or firearm part. If the software decides that the thing being printed looks enough like a gun, it stops the printer from completing the job. That is, if it even works. Lawmakers in New York and California are leaving it up to a panel of industry experts to weigh whether the proposed vision is even technically feasible. Despite that cloud of uncertainty, legislation mandating this blocking tech has already become law in New York and passed California’s state assembly.

“I didn’t want it to be so publicly available. I just didn’t want tons of them out there.”

That may sound reasonable enough, but makers and industry experts previously told The Verge that the tech is underdeveloped and risks introducing false positives where non-guns that look gun-like get unnecessarily blocked. Blackford’s e-reader case falls directly in that detection gray area. Blackford says he didn’t explicitly make the Gundle to challenge the proposed laws, but he also didn’t shy away from expressing his opinion about them.

“I’m not for that kind of thing because I’m big into open software,” Blackford says. “It’s just a wild frontier right now, so I definitely don’t trust [gun blueprint scanning tech] now.”

“If people want to 3D print a gun, they’re going to do it,” he adds. “I don’t think it’s up to the people making the slicers to control that kind of thing.”

Those pushing for these mandates, meanwhile, wouldn’t say whether their proposed tech would stop Blackford from making a harmless case. New York Gov. Kathy Hochul’s office didn’t respond to questions about Blackford’s device specifically, or the implications false positives could have for a maker’s ability to freely express themself.

“Governor Hochul is laser-focused on improving public safety and reducing gun violence in New York,” deputy communications director at the Office of Governor Kathy Hochul and spokesperson Jess D’Amelia tells The Verge. “This law relies on the expertise of leading subject matter experts to evaluate and harness emerging technologies while addressing the real and growing threat of ghost guns and illegally manufactured weapons of war. The Governor is confident these measures will make all New York communities safer.”

“The intent of the law is not to block prints like this, but I think this print is a really good example of why that’s hard.”

Cliff Braun, associate director of technology policy and research at the Electronic Frontier Foundation, who has spoken critically of California’s proposal, says it’s unclear whether the proposed system would flag Blackford’s design. While the technology exists, Braun says it’s currently in a “limited form.” Critics say a more cautious detection system that relies on hashes to flag known firearms and parts from a database could be trivially easy to sidestep by simply making small changes to a file’s design. A more expansive approach using AI to analyze a file’s geometry and predict if it’s a gun, by contrast, may be more prone to mistakes. Things that look gun-ish but aren’t, in other words, might get swept up. Lawmakers in both states are leaving it to expert panels to iron out the details of implementation, but the final result, Braun says, will have to grapple with an unavoidable tradeoff between false positives and false negatives.

“The intent of the law is not to block prints like this, but I think this print is a really good example of why that’s hard,” Braun says.

Handguns like the one Blackford modeled his design on are particularly problematic. In 2022, the ATF updated its rules clarifying that the only parts of a firearm that legally require a serial number are those that provide the housing or structure for the weapon’s “primary fire control component.” In AR-15s and other long guns, that’s the receiver. Braun notes that the shapes of receivers are relatively unique and distinguishable, as are machine gun conversion devices. That’s not quite the same with a handgun. There, the part that requires a serial number is the frame. And unlike receivers, frames are visually far more ambiguous. Water hoses, toy guns, and power tools all share somewhat similar shapes.

Dartmouth College associate professor of engineering Solomon Diamond tells The Verge that whether Blackford’s e-reader case gets blocked really depends on the type of technology that particular printer deploys. A more conservative hashing approach would fall flat because Blackford’s device wouldn’t match one of the exact hashes on a database of prohibited files. A different system using computer vision and AI to evaluate where an object likely resembles a gun, however, could flag it by mistake.

“Basing blocking tech on visual resemblance is where the false positive concerns arise because a prop and a real functional firearm resemble one another,” Diamond told The Verge. “The technical challenge here is that depending on training data and algorithms used, setting decision thresholds that have acceptably low false positive rates might have unacceptably high false negative rates and vice versa.”

“Visual resemblance might be fooled by [the] gun-shaped e-reader case,” he added.

Diamond noted a third option, “geometric identification,” could potentially thread the needle. This approach, which is currently being deployed to guide quality control in manufacturing, can be fine-tuned for what Diamond refers to as “exact geometric match,” where a zero false-positive rate is at least theoretically possible. This approach is still relatively new when it comes to 3D print blocking tech.

“Geometric Identification would not be fooled by your gun-shaped e-reader case,” he said.

3D printer manufacturers and the experts setting the standards for how blocking software mandates will work are then left with a complex choice. Requiring systems that are both actually effective at detecting guns and technically feasible to introduce in the near future will necessarily mean some non-guns get caught in the crossfire. Pretty quickly, that starts limiting how makers, hobbyists, and artists can express themselves.

“If you’re going to try and block all of those wonderfully creative humans, you’re going to make it very hard to print props or make social commentary,” Braun said.

Blackford says making the Gundle was relatively straightforward. He first went online and did a simple search for “free gun model,” which turned up the blueprints for the gun shell part of the case. He then uploaded that to Fusion 360, his preferred modeling program, and added the e-reader on top and built the case around it. The Xteink X4 is one of the cheaper e-readers on the market, and though it has limited functionality, its devoted community regularly works to improve it. With the digital design finalized, Blackford sent it off to his Bambu Lab H2D printer. The entire process, from initial idea to printed product, took less than 24 hours.

Even though the device doesn’t shoot, Blackford says he still hasn’t taken it out in public. He’s since published the files on his website, where anyone with a 3D printer can download them and make their own. Blackford admits he did this with some hesitation. The case isn’t a gun, but it looks enough like one that someone brandishing it in the open, or revealing it during a confrontation with law enforcement, could find themselves in a seriously dangerous misunderstanding. He talked things over with his wife before publishing, and ultimately decided to avoid larger marketplaces like Thingiverse or Printables so it wouldn’t spread too widely. This way, he says, people can still find it if they are interested but won’t randomly stumble upon it.

“I didn’t want it to be so publicly available,” Blackford says. “I just didn’t want tons of them out there.”

“If you’re going to try and block all of those wonderfully creative humans, you’re going to make it very hard to print props or make social commentary.”

There’s also some question as to whether walking around with the case would violate already existing federal laws requiring toys or other “look-alike firearms” to have distinctive markings. These so-called “orange tip laws” are why fake guns and airsoft guns have blaze-orange plastic tips attached to their muzzles when they are manufactured and sold. But the e-reader case isn’t really a toy or a fake gun, but an art project.

Regardless, Blackford says if he ever did take it out in public, he’d print a version in a different color to make clear it isn’t imitating a real weapon. That’s not an overreaction. Walking around in public with something that resembles a gun, even if it is functionally useless, can make interactions with police and other gun owners dangerous, or even deadly. In 2014, Cleveland police shot and killed a 12-year-old boy named Tamir Rice after he reached for a toy gun. A 2016 Washington Post report estimated that over the span of two years, police shot and killed 86 people who were holding realistic-looking toy weapons and pellet and airsoft guns.

Supporters of blueprint scanning mandates say it’s necessary to close an enforcement gap that’s giving those with felony convictions and others access to guns when they shouldn’t have them. Various laws prohibiting the manufacture and sale of 3D-printed ghost guns (untraceable firearms without serial numbers) already exist across the country. But people print in the privacy of their own homes, making enforcing those laws nearly impossible. Hochul has called this dynamic the “plastic pipeline” and warns of criminals printing guns on their kitchen tables. Mandating scanning software would shift the responsibility onto printer manufacturers, stopping the illegal guns before they are ever made.

Whether the threat posed by 3D-printed guns actually justifies such a transformative change to how printers work remains up for debate. The guns are certainly getting better in terms of performance. There are also more of them. In 2024, the NYPD said it recovered 109 mostly 3D-printed guns from crime scenes. That’s up from just one recorded three years prior. A separate 2024 report from the gun control advocacy group Everytown found similar results in 20 other cities.

All of that is a drop in the bucket compared to conventional guns collected at crime scenes. In 2025 alone, then-Mayor Eric Adams claimed the NYPD seized more than 5,200 illegal guns. The total number of firearms in the country more broadly has been estimated to outnumber people.

But Blackford says he wasn’t convinced 3D-printed guns pose an especially immediate danger. In his view, they are still primarily made by tinkerers and gun enthusiasts with a passion for the process and plenty of time on their hands. In most cases, he’s convinced, getting a real gun is still much easier than printing one.

3D printing, Blackford says, “is too much of a pain in the ass.”

And if legislation like New York’s or California’s ever reaches Kentucky, Blackford says he’s ready to get creative, either by using VPNs or figuring out some other workaround. He’s likely not alone.

“Some companies are going to be putting those locks in place, but I think open-source software is always going to prevail,” Blackford says.

Follow topics and authors from this story to see more like this in your personalized homepage feed and to receive email updates.
#ereader #case #gunTech"> Is this e-reader case a gun?Is an e-reader case as dangerous as a Glock 19?Last month, Louisville, Kentucky-based creator Luke The Maker showed off a bizarre, 3D-printed, pistol-shaped case design for the popular minimalist Xteink X4 e-reader. The X4 lies vertically atop the plastic gun’s slide, with a cutout on the side to access its buttons. Though the frame was digitally modeled after a real gun, this “case” can’t shoot bullets. Squeezing the trigger does nothing at all. He calls his contraption the “Gundle.”In a post showing off the wacky accessory, Luke (whose last name is Blackford) can be seen flipping through Cormac McCarthy’s Blood Meridian and J.D. Salinger’s The Catcher in the Rye before tossing the gun e-reader case in his car’s center console.“The perfect e-reader for public reading,” text reads over the clip.But even though this internet experiment is clearly intended as a joke or commentary, it’s possible future 3D printers won’t see it that way. Lawmakers in multiple states are pushing for laws mandating gun-blocking software on all new printers sold. This still-evolving technology would, in theory, scan every file before it’s physically printed and try to algorithmically determine whether it’s a firearm or firearm part. If the software decides that the thing being printed looks enough like a gun, it stops the printer from completing the job. That is, if it even works. Lawmakers in New York and California are leaving it up to a panel of industry experts to weigh whether the proposed vision is even technically feasible. Despite that cloud of uncertainty, legislation mandating this blocking tech has already become law in New York and passed California’s state assembly.“I didn’t want it to be so publicly available. I just didn’t want tons of them out there.” That may sound reasonable enough, but makers and industry experts previously told The Verge that the tech is underdeveloped and risks introducing false positives where non-guns that look gun-like get unnecessarily blocked. Blackford’s e-reader case falls directly in that detection gray area. Blackford says he didn’t explicitly make the Gundle to challenge the proposed laws, but he also didn’t shy away from expressing his opinion about them.“I’m not for that kind of thing because I’m big into open software,” Blackford says. “It’s just a wild frontier right now, so I definitely don’t trust [gun blueprint scanning tech] now.”“If people want to 3D print a gun, they’re going to do it,” he adds. “I don’t think it’s up to the people making the slicers to control that kind of thing.”Those pushing for these mandates, meanwhile, wouldn’t say whether their proposed tech would stop Blackford from making a harmless case. New York Gov. Kathy Hochul’s office didn’t respond to questions about Blackford’s device specifically, or the implications false positives could have for a maker’s ability to freely express themself.“Governor Hochul is laser-focused on improving public safety and reducing gun violence in New York,” deputy communications director at the Office of Governor Kathy Hochul and spokesperson Jess D’Amelia tells The Verge. “This law relies on the expertise of leading subject matter experts to evaluate and harness emerging technologies while addressing the real and growing threat of ghost guns and illegally manufactured weapons of war. The Governor is confident these measures will make all New York communities safer.”“The intent of the law is not to block prints like this, but I think this print is a really good example of why that’s hard.”Cliff Braun, associate director of technology policy and research at the Electronic Frontier Foundation, who has spoken critically of California’s proposal, says it’s unclear whether the proposed system would flag Blackford’s design. While the technology exists, Braun says it’s currently in a “limited form.” Critics say a more cautious detection system that relies on hashes to flag known firearms and parts from a database could be trivially easy to sidestep by simply making small changes to a file’s design. A more expansive approach using AI to analyze a file’s geometry and predict if it’s a gun, by contrast, may be more prone to mistakes. Things that look gun-ish but aren’t, in other words, might get swept up. Lawmakers in both states are leaving it to expert panels to iron out the details of implementation, but the final result, Braun says, will have to grapple with an unavoidable tradeoff between false positives and false negatives.“The intent of the law is not to block prints like this, but I think this print is a really good example of why that’s hard,” Braun says.Handguns like the one Blackford modeled his design on are particularly problematic. In 2022, the ATF updated its rules clarifying that the only parts of a firearm that legally require a serial number are those that provide the housing or structure for the weapon’s “primary fire control component.” In AR-15s and other long guns, that’s the receiver. Braun notes that the shapes of receivers are relatively unique and distinguishable, as are machine gun conversion devices. That’s not quite the same with a handgun. There, the part that requires a serial number is the frame. And unlike receivers, frames are visually far more ambiguous. Water hoses, toy guns, and power tools all share somewhat similar shapes.Dartmouth College associate professor of engineering Solomon Diamond tells The Verge that whether Blackford’s e-reader case gets blocked really depends on the type of technology that particular printer deploys. A more conservative hashing approach would fall flat because Blackford’s device wouldn’t match one of the exact hashes on a database of prohibited files. A different system using computer vision and AI to evaluate where an object likely resembles a gun, however, could flag it by mistake.“Basing blocking tech on visual resemblance is where the false positive concerns arise because a prop and a real functional firearm resemble one another,” Diamond told The Verge. “The technical challenge here is that depending on training data and algorithms used, setting decision thresholds that have acceptably low false positive rates might have unacceptably high false negative rates and vice versa.”“Visual resemblance might be fooled by [the] gun-shaped e-reader case,” he added.Diamond noted a third option, “geometric identification,” could potentially thread the needle. This approach, which is currently being deployed to guide quality control in manufacturing, can be fine-tuned for what Diamond refers to as “exact geometric match,” where a zero false-positive rate is at least theoretically possible. This approach is still relatively new when it comes to 3D print blocking tech.“Geometric Identification would not be fooled by your gun-shaped e-reader case,” he said.3D printer manufacturers and the experts setting the standards for how blocking software mandates will work are then left with a complex choice. Requiring systems that are both actually effective at detecting guns and technically feasible to introduce in the near future will necessarily mean some non-guns get caught in the crossfire. Pretty quickly, that starts limiting how makers, hobbyists, and artists can express themselves.“If you’re going to try and block all of those wonderfully creative humans, you’re going to make it very hard to print props or make social commentary,” Braun said.Blackford says making the Gundle was relatively straightforward. He first went online and did a simple search for “free gun model,” which turned up the blueprints for the gun shell part of the case. He then uploaded that to Fusion 360, his preferred modeling program, and added the e-reader on top and built the case around it. The Xteink X4 is one of the cheaper e-readers on the market, and though it has limited functionality, its devoted community regularly works to improve it. With the digital design finalized, Blackford sent it off to his Bambu Lab H2D printer. The entire process, from initial idea to printed product, took less than 24 hours.Even though the device doesn’t shoot, Blackford says he still hasn’t taken it out in public. He’s since published the files on his website, where anyone with a 3D printer can download them and make their own. Blackford admits he did this with some hesitation. The case isn’t a gun, but it looks enough like one that someone brandishing it in the open, or revealing it during a confrontation with law enforcement, could find themselves in a seriously dangerous misunderstanding. He talked things over with his wife before publishing, and ultimately decided to avoid larger marketplaces like Thingiverse or Printables so it wouldn’t spread too widely. This way, he says, people can still find it if they are interested but won’t randomly stumble upon it.“I didn’t want it to be so publicly available,” Blackford says. “I just didn’t want tons of them out there.”“If you’re going to try and block all of those wonderfully creative humans, you’re going to make it very hard to print props or make social commentary.”There’s also some question as to whether walking around with the case would violate already existing federal laws requiring toys or other “look-alike firearms” to have distinctive markings. These so-called “orange tip laws” are why fake guns and airsoft guns have blaze-orange plastic tips attached to their muzzles when they are manufactured and sold. But the e-reader case isn’t really a toy or a fake gun, but an art project.Regardless, Blackford says if he ever did take it out in public, he’d print a version in a different color to make clear it isn’t imitating a real weapon. That’s not an overreaction. Walking around in public with something that resembles a gun, even if it is functionally useless, can make interactions with police and other gun owners dangerous, or even deadly. In 2014, Cleveland police shot and killed a 12-year-old boy named Tamir Rice after he reached for a toy gun. A 2016 Washington Post report estimated that over the span of two years, police shot and killed 86 people who were holding realistic-looking toy weapons and pellet and airsoft guns.Supporters of blueprint scanning mandates say it’s necessary to close an enforcement gap that’s giving those with felony convictions and others access to guns when they shouldn’t have them. Various laws prohibiting the manufacture and sale of 3D-printed ghost guns (untraceable firearms without serial numbers) already exist across the country. But people print in the privacy of their own homes, making enforcing those laws nearly impossible. Hochul has called this dynamic the “plastic pipeline” and warns of criminals printing guns on their kitchen tables. Mandating scanning software would shift the responsibility onto printer manufacturers, stopping the illegal guns before they are ever made.Whether the threat posed by 3D-printed guns actually justifies such a transformative change to how printers work remains up for debate. The guns are certainly getting better in terms of performance. There are also more of them. In 2024, the NYPD said it recovered 109 mostly 3D-printed guns from crime scenes. That’s up from just one recorded three years prior. A separate 2024 report from the gun control advocacy group Everytown found similar results in 20 other cities.All of that is a drop in the bucket compared to conventional guns collected at crime scenes. In 2025 alone, then-Mayor Eric Adams claimed the NYPD seized more than 5,200 illegal guns. The total number of firearms in the country more broadly has been estimated to outnumber people.But Blackford says he wasn’t convinced 3D-printed guns pose an especially immediate danger. In his view, they are still primarily made by tinkerers and gun enthusiasts with a passion for the process and plenty of time on their hands. In most cases, he’s convinced, getting a real gun is still much easier than printing one.3D printing, Blackford says, “is too much of a pain in the ass.”And if legislation like New York’s or California’s ever reaches Kentucky, Blackford says he’s ready to get creative, either by using VPNs or figuring out some other workaround. He’s likely not alone.“Some companies are going to be putting those locks in place, but I think open-source software is always going to prevail,” Blackford says.Follow topics and authors from this story to see more like this in your personalized homepage feed and to receive email updates.Mack DeGeurinCloseMack DeGeurinPosts from this author will be added to your daily email digest and your homepage feed.FollowFollowSee All by Mack DeGeurinTechCloseTechPosts from this topic will be added to your daily email digest and your homepage feed.FollowFollowSee All Tech#ereader #case #gunTech
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Luke The Maker showed off a bizarre, 3D-printed, pistol-shaped case design for the popular minimalist Xteink X4 e-reader. The X4 lies vertically atop the plastic gun’s slide, with a cutout on the side to access its buttons. Though the frame was digitally modeled after a real gun, this “case” can’t shoot bullets. Squeezing the trigger does nothing at all. He calls his contraption the “Gundle.”

In a post showing off the wacky accessory, Luke (whose last name is Blackford) can be seen flipping through Cormac McCarthy’s Blood Meridian and J.D. Salinger’s The Catcher in the Rye before tossing the gun e-reader case in his car’s center console.

“The perfect e-reader for public reading,” text reads over the clip.

But even though this internet experiment is clearly intended as a joke or commentary, it’s possible future 3D printers won’t see it that way. Lawmakers in multiple states are pushing for laws mandating gun-blocking software on all new printers sold. This still-evolving technology would, in theory, scan every file before it’s physically printed and try to algorithmically determine whether it’s a firearm or firearm part. If the software decides that the thing being printed looks enough like a gun, it stops the printer from completing the job. That is, if it even works. Lawmakers in New York and California are leaving it up to a panel of industry experts to weigh whether the proposed vision is even technically feasible. Despite that cloud of uncertainty, legislation mandating this blocking tech has already become law in New York and passed California’s state assembly.

“I didn’t want it to be so publicly available. I just didn’t want tons of them out there.”

That may sound reasonable enough, but makers and industry experts previously told The Verge that the tech is underdeveloped and risks introducing false positives where non-guns that look gun-like get unnecessarily blocked. Blackford’s e-reader case falls directly in that detection gray area. Blackford says he didn’t explicitly make the Gundle to challenge the proposed laws, but he also didn’t shy away from expressing his opinion about them.

“I’m not for that kind of thing because I’m big into open software,” Blackford says. “It’s just a wild frontier right now, so I definitely don’t trust [gun blueprint scanning tech] now.”

“If people want to 3D print a gun, they’re going to do it,” he adds. “I don’t think it’s up to the people making the slicers to control that kind of thing.”

Those pushing for these mandates, meanwhile, wouldn’t say whether their proposed tech would stop Blackford from making a harmless case. New York Gov. Kathy Hochul’s office didn’t respond to questions about Blackford’s device specifically, or the implications false positives could have for a maker’s ability to freely express themself.

“Governor Hochul is laser-focused on improving public safety and reducing gun violence in New York,” deputy communications director at the Office of Governor Kathy Hochul and spokesperson Jess D’Amelia tells The Verge. “This law relies on the expertise of leading subject matter experts to evaluate and harness emerging technologies while addressing the real and growing threat of ghost guns and illegally manufactured weapons of war. The Governor is confident these measures will make all New York communities safer.”

“The intent of the law is not to block prints like this, but I think this print is a really good example of why that’s hard.”

Cliff Braun, associate director of technology policy and research at the Electronic Frontier Foundation, who has spoken critically of California’s proposal, says it’s unclear whether the proposed system would flag Blackford’s design. While the technology exists, Braun says it’s currently in a “limited form.” Critics say a more cautious detection system that relies on hashes to flag known firearms and parts from a database could be trivially easy to sidestep by simply making small changes to a file’s design. A more expansive approach using AI to analyze a file’s geometry and predict if it’s a gun, by contrast, may be more prone to mistakes. Things that look gun-ish but aren’t, in other words, might get swept up. Lawmakers in both states are leaving it to expert panels to iron out the details of implementation, but the final result, Braun says, will have to grapple with an unavoidable tradeoff between false positives and false negatives.

“The intent of the law is not to block prints like this, but I think this print is a really good example of why that’s hard,” Braun says.

Handguns like the one Blackford modeled his design on are particularly problematic. In 2022, the ATF updated its rules clarifying that the only parts of a firearm that legally require a serial number are those that provide the housing or structure for the weapon’s “primary fire control component.” In AR-15s and other long guns, that’s the receiver. Braun notes that the shapes of receivers are relatively unique and distinguishable, as are machine gun conversion devices. That’s not quite the same with a handgun. There, the part that requires a serial number is the frame. And unlike receivers, frames are visually far more ambiguous. Water hoses, toy guns, and power tools all share somewhat similar shapes.

Dartmouth College associate professor of engineering Solomon Diamond tells The Verge that whether Blackford’s e-reader case gets blocked really depends on the type of technology that particular printer deploys. A more conservative hashing approach would fall flat because Blackford’s device wouldn’t match one of the exact hashes on a database of prohibited files. A different system using computer vision and AI to evaluate where an object likely resembles a gun, however, could flag it by mistake.

“Basing blocking tech on visual resemblance is where the false positive concerns arise because a prop and a real functional firearm resemble one another,” Diamond told The Verge. “The technical challenge here is that depending on training data and algorithms used, setting decision thresholds that have acceptably low false positive rates might have unacceptably high false negative rates and vice versa.”

“Visual resemblance might be fooled by [the] gun-shaped e-reader case,” he added.

Diamond noted a third option, “geometric identification,” could potentially thread the needle. This approach, which is currently being deployed to guide quality control in manufacturing, can be fine-tuned for what Diamond refers to as “exact geometric match,” where a zero false-positive rate is at least theoretically possible. This approach is still relatively new when it comes to 3D print blocking tech.

“Geometric Identification would not be fooled by your gun-shaped e-reader case,” he said.

3D printer manufacturers and the experts setting the standards for how blocking software mandates will work are then left with a complex choice. Requiring systems that are both actually effective at detecting guns and technically feasible to introduce in the near future will necessarily mean some non-guns get caught in the crossfire. Pretty quickly, that starts limiting how makers, hobbyists, and artists can express themselves.

“If you’re going to try and block all of those wonderfully creative humans, you’re going to make it very hard to print props or make social commentary,” Braun said.

Blackford says making the Gundle was relatively straightforward. He first went online and did a simple search for “free gun model,” which turned up the blueprints for the gun shell part of the case. He then uploaded that to Fusion 360, his preferred modeling program, and added the e-reader on top and built the case around it. The Xteink X4 is one of the cheaper e-readers on the market, and though it has limited functionality, its devoted community regularly works to improve it. With the digital design finalized, Blackford sent it off to his Bambu Lab H2D printer. The entire process, from initial idea to printed product, took less than 24 hours.

Even though the device doesn’t shoot, Blackford says he still hasn’t taken it out in public. He’s since published the files on his website, where anyone with a 3D printer can download them and make their own. Blackford admits he did this with some hesitation. The case isn’t a gun, but it looks enough like one that someone brandishing it in the open, or revealing it during a confrontation with law enforcement, could find themselves in a seriously dangerous misunderstanding. He talked things over with his wife before publishing, and ultimately decided to avoid larger marketplaces like Thingiverse or Printables so it wouldn’t spread too widely. This way, he says, people can still find it if they are interested but won’t randomly stumble upon it.

“I didn’t want it to be so publicly available,” Blackford says. “I just didn’t want tons of them out there.”

“If you’re going to try and block all of those wonderfully creative humans, you’re going to make it very hard to print props or make social commentary.”

There’s also some question as to whether walking around with the case would violate already existing federal laws requiring toys or other “look-alike firearms” to have distinctive markings. These so-called “orange tip laws” are why fake guns and airsoft guns have blaze-orange plastic tips attached to their muzzles when they are manufactured and sold. But the e-reader case isn’t really a toy or a fake gun, but an art project.

Regardless, Blackford says if he ever did take it out in public, he’d print a version in a different color to make clear it isn’t imitating a real weapon. That’s not an overreaction. Walking around in public with something that resembles a gun, even if it is functionally useless, can make interactions with police and other gun owners dangerous, or even deadly. In 2014, Cleveland police shot and killed a 12-year-old boy named Tamir Rice after he reached for a toy gun. A 2016 Washington Post report estimated that over the span of two years, police shot and killed 86 people who were holding realistic-looking toy weapons and pellet and airsoft guns.

Supporters of blueprint scanning mandates say it’s necessary to close an enforcement gap that’s giving those with felony convictions and others access to guns when they shouldn’t have them. Various laws prohibiting the manufacture and sale of 3D-printed ghost guns (untraceable firearms without serial numbers) already exist across the country. But people print in the privacy of their own homes, making enforcing those laws nearly impossible. Hochul has called this dynamic the “plastic pipeline” and warns of criminals printing guns on their kitchen tables. Mandating scanning software would shift the responsibility onto printer manufacturers, stopping the illegal guns before they are ever made.

Whether the threat posed by 3D-printed guns actually justifies such a transformative change to how printers work remains up for debate. The guns are certainly getting better in terms of performance. There are also more of them. In 2024, the NYPD said it recovered 109 mostly 3D-printed guns from crime scenes. That’s up from just one recorded three years prior. A separate 2024 report from the gun control advocacy group Everytown found similar results in 20 other cities.

All of that is a drop in the bucket compared to conventional guns collected at crime scenes. In 2025 alone, then-Mayor Eric Adams claimed the NYPD seized more than 5,200 illegal guns. The total number of firearms in the country more broadly has been estimated to outnumber people.

But Blackford says he wasn’t convinced 3D-printed guns pose an especially immediate danger. In his view, they are still primarily made by tinkerers and gun enthusiasts with a passion for the process and plenty of time on their hands. In most cases, he’s convinced, getting a real gun is still much easier than printing one.

3D printing, Blackford says, “is too much of a pain in the ass.”

And if legislation like New York’s or California’s ever reaches Kentucky, Blackford says he’s ready to get creative, either by using VPNs or figuring out some other workaround. He’s likely not alone.

“Some companies are going to be putting those locks in place, but I think open-source software is always going to prevail,” Blackford says.

Follow topics and authors from this story to see more like this in your personalized homepage feed and to receive email updates.

#ereader #case #gunTech">Is this e-reader case a gun?

Is an e-reader case as dangerous as a Glock 19?

Last month, Louisville, Kentucky-based creator Luke The Maker showed off a bizarre, 3D-printed, pistol-shaped case design for the popular minimalist Xteink X4 e-reader. The X4 lies vertically atop the plastic gun’s slide, with a cutout on the side to access its buttons. Though the frame was digitally modeled after a real gun, this “case” can’t shoot bullets. Squeezing the trigger does nothing at all. He calls his contraption the “Gundle.”

In a post showing off the wacky accessory, Luke (whose last name is Blackford) can be seen flipping through Cormac McCarthy’s Blood Meridian and J.D. Salinger’s The Catcher in the Rye before tossing the gun e-reader case in his car’s center console.

“The perfect e-reader for public reading,” text reads over the clip.

But even though this internet experiment is clearly intended as a joke or commentary, it’s possible future 3D printers won’t see it that way. Lawmakers in multiple states are pushing for laws mandating gun-blocking software on all new printers sold. This still-evolving technology would, in theory, scan every file before it’s physically printed and try to algorithmically determine whether it’s a firearm or firearm part. If the software decides that the thing being printed looks enough like a gun, it stops the printer from completing the job. That is, if it even works. Lawmakers in New York and California are leaving it up to a panel of industry experts to weigh whether the proposed vision is even technically feasible. Despite that cloud of uncertainty, legislation mandating this blocking tech has already become law in New York and passed California’s state assembly.

“I didn’t want it to be so publicly available. I just didn’t want tons of them out there.”

That may sound reasonable enough, but makers and industry experts previously told The Verge that the tech is underdeveloped and risks introducing false positives where non-guns that look gun-like get unnecessarily blocked. Blackford’s e-reader case falls directly in that detection gray area. Blackford says he didn’t explicitly make the Gundle to challenge the proposed laws, but he also didn’t shy away from expressing his opinion about them.

“I’m not for that kind of thing because I’m big into open software,” Blackford says. “It’s just a wild frontier right now, so I definitely don’t trust [gun blueprint scanning tech] now.”

“If people want to 3D print a gun, they’re going to do it,” he adds. “I don’t think it’s up to the people making the slicers to control that kind of thing.”

Those pushing for these mandates, meanwhile, wouldn’t say whether their proposed tech would stop Blackford from making a harmless case. New York Gov. Kathy Hochul’s office didn’t respond to questions about Blackford’s device specifically, or the implications false positives could have for a maker’s ability to freely express themself.

“Governor Hochul is laser-focused on improving public safety and reducing gun violence in New York,” deputy communications director at the Office of Governor Kathy Hochul and spokesperson Jess D’Amelia tells The Verge. “This law relies on the expertise of leading subject matter experts to evaluate and harness emerging technologies while addressing the real and growing threat of ghost guns and illegally manufactured weapons of war. The Governor is confident these measures will make all New York communities safer.”

“The intent of the law is not to block prints like this, but I think this print is a really good example of why that’s hard.”

Cliff Braun, associate director of technology policy and research at the Electronic Frontier Foundation, who has spoken critically of California’s proposal, says it’s unclear whether the proposed system would flag Blackford’s design. While the technology exists, Braun says it’s currently in a “limited form.” Critics say a more cautious detection system that relies on hashes to flag known firearms and parts from a database could be trivially easy to sidestep by simply making small changes to a file’s design. A more expansive approach using AI to analyze a file’s geometry and predict if it’s a gun, by contrast, may be more prone to mistakes. Things that look gun-ish but aren’t, in other words, might get swept up. Lawmakers in both states are leaving it to expert panels to iron out the details of implementation, but the final result, Braun says, will have to grapple with an unavoidable tradeoff between false positives and false negatives.

“The intent of the law is not to block prints like this, but I think this print is a really good example of why that’s hard,” Braun says.

Handguns like the one Blackford modeled his design on are particularly problematic. In 2022, the ATF updated its rules clarifying that the only parts of a firearm that legally require a serial number are those that provide the housing or structure for the weapon’s “primary fire control component.” In AR-15s and other long guns, that’s the receiver. Braun notes that the shapes of receivers are relatively unique and distinguishable, as are machine gun conversion devices. That’s not quite the same with a handgun. There, the part that requires a serial number is the frame. And unlike receivers, frames are visually far more ambiguous. Water hoses, toy guns, and power tools all share somewhat similar shapes.

Dartmouth College associate professor of engineering Solomon Diamond tells The Verge that whether Blackford’s e-reader case gets blocked really depends on the type of technology that particular printer deploys. A more conservative hashing approach would fall flat because Blackford’s device wouldn’t match one of the exact hashes on a database of prohibited files. A different system using computer vision and AI to evaluate where an object likely resembles a gun, however, could flag it by mistake.

“Basing blocking tech on visual resemblance is where the false positive concerns arise because a prop and a real functional firearm resemble one another,” Diamond told The Verge. “The technical challenge here is that depending on training data and algorithms used, setting decision thresholds that have acceptably low false positive rates might have unacceptably high false negative rates and vice versa.”

“Visual resemblance might be fooled by [the] gun-shaped e-reader case,” he added.

Diamond noted a third option, “geometric identification,” could potentially thread the needle. This approach, which is currently being deployed to guide quality control in manufacturing, can be fine-tuned for what Diamond refers to as “exact geometric match,” where a zero false-positive rate is at least theoretically possible. This approach is still relatively new when it comes to 3D print blocking tech.

“Geometric Identification would not be fooled by your gun-shaped e-reader case,” he said.

3D printer manufacturers and the experts setting the standards for how blocking software mandates will work are then left with a complex choice. Requiring systems that are both actually effective at detecting guns and technically feasible to introduce in the near future will necessarily mean some non-guns get caught in the crossfire. Pretty quickly, that starts limiting how makers, hobbyists, and artists can express themselves.

“If you’re going to try and block all of those wonderfully creative humans, you’re going to make it very hard to print props or make social commentary,” Braun said.

Blackford says making the Gundle was relatively straightforward. He first went online and did a simple search for “free gun model,” which turned up the blueprints for the gun shell part of the case. He then uploaded that to Fusion 360, his preferred modeling program, and added the e-reader on top and built the case around it. The Xteink X4 is one of the cheaper e-readers on the market, and though it has limited functionality, its devoted community regularly works to improve it. With the digital design finalized, Blackford sent it off to his Bambu Lab H2D printer. The entire process, from initial idea to printed product, took less than 24 hours.

Even though the device doesn’t shoot, Blackford says he still hasn’t taken it out in public. He’s since published the files on his website, where anyone with a 3D printer can download them and make their own. Blackford admits he did this with some hesitation. The case isn’t a gun, but it looks enough like one that someone brandishing it in the open, or revealing it during a confrontation with law enforcement, could find themselves in a seriously dangerous misunderstanding. He talked things over with his wife before publishing, and ultimately decided to avoid larger marketplaces like Thingiverse or Printables so it wouldn’t spread too widely. This way, he says, people can still find it if they are interested but won’t randomly stumble upon it.

“I didn’t want it to be so publicly available,” Blackford says. “I just didn’t want tons of them out there.”

“If you’re going to try and block all of those wonderfully creative humans, you’re going to make it very hard to print props or make social commentary.”

There’s also some question as to whether walking around with the case would violate already existing federal laws requiring toys or other “look-alike firearms” to have distinctive markings. These so-called “orange tip laws” are why fake guns and airsoft guns have blaze-orange plastic tips attached to their muzzles when they are manufactured and sold. But the e-reader case isn’t really a toy or a fake gun, but an art project.

Regardless, Blackford says if he ever did take it out in public, he’d print a version in a different color to make clear it isn’t imitating a real weapon. That’s not an overreaction. Walking around in public with something that resembles a gun, even if it is functionally useless, can make interactions with police and other gun owners dangerous, or even deadly. In 2014, Cleveland police shot and killed a 12-year-old boy named Tamir Rice after he reached for a toy gun. A 2016 Washington Post report estimated that over the span of two years, police shot and killed 86 people who were holding realistic-looking toy weapons and pellet and airsoft guns.

Supporters of blueprint scanning mandates say it’s necessary to close an enforcement gap that’s giving those with felony convictions and others access to guns when they shouldn’t have them. Various laws prohibiting the manufacture and sale of 3D-printed ghost guns (untraceable firearms without serial numbers) already exist across the country. But people print in the privacy of their own homes, making enforcing those laws nearly impossible. Hochul has called this dynamic the “plastic pipeline” and warns of criminals printing guns on their kitchen tables. Mandating scanning software would shift the responsibility onto printer manufacturers, stopping the illegal guns before they are ever made.

Whether the threat posed by 3D-printed guns actually justifies such a transformative change to how printers work remains up for debate. The guns are certainly getting better in terms of performance. There are also more of them. In 2024, the NYPD said it recovered 109 mostly 3D-printed guns from crime scenes. That’s up from just one recorded three years prior. A separate 2024 report from the gun control advocacy group Everytown found similar results in 20 other cities.

All of that is a drop in the bucket compared to conventional guns collected at crime scenes. In 2025 alone, then-Mayor Eric Adams claimed the NYPD seized more than 5,200 illegal guns. The total number of firearms in the country more broadly has been estimated to outnumber people.

But Blackford says he wasn’t convinced 3D-printed guns pose an especially immediate danger. In his view, they are still primarily made by tinkerers and gun enthusiasts with a passion for the process and plenty of time on their hands. In most cases, he’s convinced, getting a real gun is still much easier than printing one.

3D printing, Blackford says, “is too much of a pain in the ass.”

And if legislation like New York’s or California’s ever reaches Kentucky, Blackford says he’s ready to get creative, either by using VPNs or figuring out some other workaround. He’s likely not alone.

“Some companies are going to be putting those locks in place, but I think open-source software is always going to prevail,” Blackford says.

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Is an e-reader case as dangerous as a Glock 19?Last month, Louisville, Kentucky-based creator Luke…

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ACTIVATION DATE: 23/06/2028 ACTIVATION TIME: 15:08 UTC+08:00 SN: 683923999908 MANUFACTURING LOC.: SHENZHEN, CHINA MODEL: PN5000X…

Photo: David Imel / The Verge

The highlight of Galaxy Unpacked was the Galaxy Z Fold 8, which got a major redesign from last year’s Z Fold 7. The new design is shorter and wider, with a 7.6-inch inside display and a 5.5-inch outside display. It’s a tad thicker at 4.5mm unfolded and 9.7mm folded, compared to 4.2mm and 8.9mm, respectively, for the Z Fold 7.

The new Fold also features an updated hinge design with Samsung’s new Flex Titanium display tech. It doesn’t completely eliminate the crease on the inside display, but it does make it significantly less noticeable than the crease on Samsung’s previous foldables. The new Z Fold 8 Ultra and Z Flip 8 also got the Flex Titanium display upgrade.

The Z Fold 8 runs on a Qualcomm Snapdragon 8 Elite Gen 5 for Galaxy with up to 16GB of RAM and 1TB of storage. The camera setup is a step down from the Z Fold 7 — the Z Fold 8 has two main cameras instead of three, a 50MP wide and a 50MP ultra wide. The cover screen camera and inside camera are both 10MP like the Z Fold 7, though.

The Z Fold 8 starts at $1,899 and comes in four colors: lavender, graphite, cream, and pistachio (for online orders only).

Photo: Dominic Preston / The Verge

While the standard Z Fold 8 got a revamped design, the new Galaxy Z Fold 8 Ultra inherited the design from last year’s Z Fold 7. Samsung’s new top-tier foldable is powered by a Qualcomm Snapdragon 8 Elite Gen 5 for Galaxy with up to 16GB of RAM and 1TB of storage.

The Ultra features a larger 5,000mAh battery, compared to the 4,400mAh battery in the Z Fold 7. The phone also supports 45W wired charging and 20W wireless charging, an improvement over the Z Fold 7’s 25W wired / 15W wireless charging. The camera setup is similar to the Z Fold 7 with a 200MP wide / 50MP ultra wide / 10MP telephoto main camera and 10MP selfie cameras on the inside and cover displays.

The Z Fold 8 Ultra starts at $2,099 and comes in four colors: graphite, cream, violet shadow, and green shadow (for online orders only).

A hand holding a closed Samsung Galaxy Flip 8, with the front screen on

Photo: David Imel / The Verge

Samsung announced the Galaxy Z Flip 8 with some spec bumps, but no major design changes. It now runs on a Qualcomm Snapdragon 8 Elite Gen 5 processor, an upgrade from the Exynos 2500 chip that powered the previous Z Flip 7. It also includes 12GB of RAM with options for 256GB or 512GB of storage (but still no 1TB option).

Like last year’s model, it has a 6.9-inch inside display and a 4.1-inch cover display, with a 4,300mAh battery. While it looks the same overall, the cover display is a bit more versatile now thanks to a few new gestures and access to an app drawer. It’s also slightly thinner at 13.1mm folded and 6.1mm unfolded. Unfortunately, it’s also $100 more expensive than the Flip 7, starting at $1,199. The phone comes in four colors: pink, graphite, cream, and mint (for online orders only).

Photo: Dominic Preston / The Verge

The Galaxy Watch got a refresh at Galaxy Unpacked with a new processor, Qualcomm’s Snapdragon Wear Elite. It once again comes in two sizes, 44mm and 40mm. The larger 44mm model has a 1.47-inch display and a 445mAh battery, while the 40mm version includes a slightly smaller 1.34-inch display and a 390mAh battery. Samsung says both sizes can last up to 30 hours per charge with the always-on display turned on. Both also include 2GB of RAM and 32GB of storage.

In addition to spec improvements, the highlight of this year’s Galaxy Watch refresh are four new preventative health metrics: Vitals, Heart Health Score, Daily Cardio Load, and Fitness Index. All four will also be available on the new Galaxy Watch Ultra 2, and may help Samsung’s smartwatches compete with Apple’s wearables.

Unfortunately, the Galaxy Watch 9 got a $30 price bump from last year, so it now starts at $379. The 44mm version comes in graphite and silver while the 40mm one is available in graphite and cream.

The new Galaxy Watch Ultra 2 packs an impressive battery

Photo: Dominic Preston / The Verge

Samsung announced the Galaxy Watch Ultra 2, not to be confused with the second-generation version of the original Galaxy Watch Ultra from last year. The new Ultra includes a significantly larger battery at a whopping 800mAh, up from 590mAh in last year’s Ultra, which somehow fits into a case that’s 12 percent thinner than the previous model. Samsung says it can last up to 60 hours per charge with the always-on display turned on. The updated Ultra is also getting the same new preventative health metrics as the base Galaxy Watch.

The Galaxy Watch Ultra 2 runs on a Qualcomm Snapdragon Wear Elite with 2GB of RAM and 64GB of storage. Like the previous version, it’s available in just one size, 47mm, with a 1.52-inch display. The Galaxy Watch Ultra 2 also got a $50 price hike, bringing it up to $699, with two color options, titanium silver and titanium gray.

Google also made an appearance at this year’s Galaxy Unpacked with a couple of new frames for the upcoming smartglasses it’s making in collaboration with Samsung. It unveiled new designs from Gentle Monster and Warby Parker, following two earlier designs from both brands announced in May at Google I/O. The first pairs of Google’s smartglasses are expected to launch later this year.

Follow topics and authors from this story to see more like this in your personalized homepage feed and to receive email updates.
#Samsung #Galaxy #Unpacked #biggest #announcementsFoldable Phones,Mobile,News,Samsung,Tech"> Samsung Galaxy Unpacked 2026: The 6 biggest announcementsSamsung’s annual summer event kicked off on Wednesday morning with the company unveiling a new lineup of watches and foldables. Following weeks of rumors and leaks, Samsung announced the Galaxy Z Fold 8 with a completely new design that’s shorter and wider than last year’s Fold, a new “Ultra” Fold, an updated Flip model, and refreshed versions of the Galaxy smartwatches.If you weren’t able to watch the event yourself, you can catch up with all of this year’s biggest Galaxy Unpacked announcements below.Photo: David Imel / The VergeThe highlight of Galaxy Unpacked was the Galaxy Z Fold 8, which got a major redesign from last year’s Z Fold 7. The new design is shorter and wider, with a 7.6-inch inside display and a 5.5-inch outside display. It’s a tad thicker at 4.5mm unfolded and 9.7mm folded, compared to 4.2mm and 8.9mm, respectively, for the Z Fold 7.The new Fold also features an updated hinge design with Samsung’s new Flex Titanium display tech. It doesn’t completely eliminate the crease on the inside display, but it does make it significantly less noticeable than the crease on Samsung’s previous foldables. The new Z Fold 8 Ultra and Z Flip 8 also got the Flex Titanium display upgrade.The Z Fold 8 runs on a Qualcomm Snapdragon 8 Elite Gen 5 for Galaxy with up to 16GB of RAM and 1TB of storage. The camera setup is a step down from the Z Fold 7 — the Z Fold 8 has two main cameras instead of three, a 50MP wide and a 50MP ultra wide. The cover screen camera and inside camera are both 10MP like the Z Fold 7, though.The Z Fold 8 starts at ,899 and comes in four colors: lavender, graphite, cream, and pistachio (for online orders only).Photo: Dominic Preston / The VergeWhile the standard Z Fold 8 got a revamped design, the new Galaxy Z Fold 8 Ultra inherited the design from last year’s Z Fold 7. Samsung’s new top-tier foldable is powered by a Qualcomm Snapdragon 8 Elite Gen 5 for Galaxy with up to 16GB of RAM and 1TB of storage.The Ultra features a larger 5,000mAh battery, compared to the 4,400mAh battery in the Z Fold 7. The phone also supports 45W wired charging and 20W wireless charging, an improvement over the Z Fold 7’s 25W wired / 15W wireless charging. The camera setup is similar to the Z Fold 7 with a 200MP wide / 50MP ultra wide / 10MP telephoto main camera and 10MP selfie cameras on the inside and cover displays.The Z Fold 8 Ultra starts at ,099 and comes in four colors: graphite, cream, violet shadow, and green shadow (for online orders only).Photo: David Imel / The VergeSamsung announced the Galaxy Z Flip 8 with some spec bumps, but no major design changes. It now runs on a Qualcomm Snapdragon 8 Elite Gen 5 processor, an upgrade from the Exynos 2500 chip that powered the previous Z Flip 7. It also includes 12GB of RAM with options for 256GB or 512GB of storage (but still no 1TB option).Like last year’s model, it has a 6.9-inch inside display and a 4.1-inch cover display, with a 4,300mAh battery. While it looks the same overall, the cover display is a bit more versatile now thanks to a few new gestures and access to an app drawer. It’s also slightly thinner at 13.1mm folded and 6.1mm unfolded. Unfortunately, it’s also 0 more expensive than the Flip 7, starting at ,199. The phone comes in four colors: pink, graphite, cream, and mint (for online orders only).Photo: Dominic Preston / The VergeThe Galaxy Watch got a refresh at Galaxy Unpacked with a new processor, Qualcomm’s Snapdragon Wear Elite. It once again comes in two sizes, 44mm and 40mm. The larger 44mm model has a 1.47-inch display and a 445mAh battery, while the 40mm version includes a slightly smaller 1.34-inch display and a 390mAh battery. Samsung says both sizes can last up to 30 hours per charge with the always-on display turned on. Both also include 2GB of RAM and 32GB of storage.In addition to spec improvements, the highlight of this year’s Galaxy Watch refresh are four new preventative health metrics: Vitals, Heart Health Score, Daily Cardio Load, and Fitness Index. All four will also be available on the new Galaxy Watch Ultra 2, and may help Samsung’s smartwatches compete with Apple’s wearables.Unfortunately, the Galaxy Watch 9 got a  price bump from last year, so it now starts at 9. The 44mm version comes in graphite and silver while the 40mm one is available in graphite and cream.The new Galaxy Watch Ultra 2 packs an impressive batteryPhoto: Dominic Preston / The VergeSamsung announced the Galaxy Watch Ultra 2, not to be confused with the second-generation version of the original Galaxy Watch Ultra from last year. The new Ultra includes a significantly larger battery at a whopping 800mAh, up from 590mAh in last year’s Ultra, which somehow fits into a case that’s 12 percent thinner than the previous model. Samsung says it can last up to 60 hours per charge with the always-on display turned on. The updated Ultra is also getting the same new preventative health metrics as the base Galaxy Watch.The Galaxy Watch Ultra 2 runs on a Qualcomm Snapdragon Wear Elite with 2GB of RAM and 64GB of storage. Like the previous version, it’s available in just one size, 47mm, with a 1.52-inch display. The Galaxy Watch Ultra 2 also got a  price hike, bringing it up to 9, with two color options, titanium silver and titanium gray.Google also made an appearance at this year’s Galaxy Unpacked with a couple of new frames for the upcoming smartglasses it’s making in collaboration with Samsung. It unveiled new designs from Gentle Monster and Warby Parker, following two earlier designs from both brands announced in May at Google I/O. The first pairs of Google’s smartglasses are expected to launch later this year.Follow topics and authors from this story to see more like this in your personalized homepage feed and to receive email updates.Stevie BonifieldCloseStevie BonifieldPosts from this author will be added to your daily email digest and your homepage feed.FollowFollowSee All by Stevie BonifieldFoldable PhonesCloseFoldable PhonesPosts from this topic will be added to your daily email digest and your homepage feed.FollowFollowSee All Foldable PhonesMobileCloseMobilePosts from this topic will be added to your daily email digest and your homepage feed.FollowFollowSee All MobileNewsCloseNewsPosts from this topic will be added to your daily email digest and your homepage feed.FollowFollowSee All NewsSamsungCloseSamsungPosts from this topic will be added to your daily email digest and your homepage feed.FollowFollowSee All SamsungTechCloseTechPosts from this topic will be added to your daily email digest and your homepage feed.FollowFollowSee All Tech#Samsung #Galaxy #Unpacked #biggest #announcementsFoldable Phones,Mobile,News,Samsung,Tech
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Photo: David Imel / The Verge

The highlight of Galaxy Unpacked was the Galaxy Z Fold 8, which got a major redesign from last year’s Z Fold 7. The new design is shorter and wider, with a 7.6-inch inside display and a 5.5-inch outside display. It’s a tad thicker at 4.5mm unfolded and 9.7mm folded, compared to 4.2mm and 8.9mm, respectively, for the Z Fold 7.

The new Fold also features an updated hinge design with Samsung’s new Flex Titanium display tech. It doesn’t completely eliminate the crease on the inside display, but it does make it significantly less noticeable than the crease on Samsung’s previous foldables. The new Z Fold 8 Ultra and Z Flip 8 also got the Flex Titanium display upgrade.

The Z Fold 8 runs on a Qualcomm Snapdragon 8 Elite Gen 5 for Galaxy with up to 16GB of RAM and 1TB of storage. The camera setup is a step down from the Z Fold 7 — the Z Fold 8 has two main cameras instead of three, a 50MP wide and a 50MP ultra wide. The cover screen camera and inside camera are both 10MP like the Z Fold 7, though.

The Z Fold 8 starts at $1,899 and comes in four colors: lavender, graphite, cream, and pistachio (for online orders only).

Photo: Dominic Preston / The Verge

While the standard Z Fold 8 got a revamped design, the new Galaxy Z Fold 8 Ultra inherited the design from last year’s Z Fold 7. Samsung’s new top-tier foldable is powered by a Qualcomm Snapdragon 8 Elite Gen 5 for Galaxy with up to 16GB of RAM and 1TB of storage.

The Ultra features a larger 5,000mAh battery, compared to the 4,400mAh battery in the Z Fold 7. The phone also supports 45W wired charging and 20W wireless charging, an improvement over the Z Fold 7’s 25W wired / 15W wireless charging. The camera setup is similar to the Z Fold 7 with a 200MP wide / 50MP ultra wide / 10MP telephoto main camera and 10MP selfie cameras on the inside and cover displays.

The Z Fold 8 Ultra starts at $2,099 and comes in four colors: graphite, cream, violet shadow, and green shadow (for online orders only).

A hand holding a closed Samsung Galaxy Flip 8, with the front screen on

Photo: David Imel / The Verge

Samsung announced the Galaxy Z Flip 8 with some spec bumps, but no major design changes. It now runs on a Qualcomm Snapdragon 8 Elite Gen 5 processor, an upgrade from the Exynos 2500 chip that powered the previous Z Flip 7. It also includes 12GB of RAM with options for 256GB or 512GB of storage (but still no 1TB option).

Like last year’s model, it has a 6.9-inch inside display and a 4.1-inch cover display, with a 4,300mAh battery. While it looks the same overall, the cover display is a bit more versatile now thanks to a few new gestures and access to an app drawer. It’s also slightly thinner at 13.1mm folded and 6.1mm unfolded. Unfortunately, it’s also $100 more expensive than the Flip 7, starting at $1,199. The phone comes in four colors: pink, graphite, cream, and mint (for online orders only).

Photo: Dominic Preston / The Verge

The Galaxy Watch got a refresh at Galaxy Unpacked with a new processor, Qualcomm’s Snapdragon Wear Elite. It once again comes in two sizes, 44mm and 40mm. The larger 44mm model has a 1.47-inch display and a 445mAh battery, while the 40mm version includes a slightly smaller 1.34-inch display and a 390mAh battery. Samsung says both sizes can last up to 30 hours per charge with the always-on display turned on. Both also include 2GB of RAM and 32GB of storage.

In addition to spec improvements, the highlight of this year’s Galaxy Watch refresh are four new preventative health metrics: Vitals, Heart Health Score, Daily Cardio Load, and Fitness Index. All four will also be available on the new Galaxy Watch Ultra 2, and may help Samsung’s smartwatches compete with Apple’s wearables.

Unfortunately, the Galaxy Watch 9 got a $30 price bump from last year, so it now starts at $379. The 44mm version comes in graphite and silver while the 40mm one is available in graphite and cream.

The new Galaxy Watch Ultra 2 packs an impressive battery

Photo: Dominic Preston / The Verge

Samsung announced the Galaxy Watch Ultra 2, not to be confused with the second-generation version of the original Galaxy Watch Ultra from last year. The new Ultra includes a significantly larger battery at a whopping 800mAh, up from 590mAh in last year’s Ultra, which somehow fits into a case that’s 12 percent thinner than the previous model. Samsung says it can last up to 60 hours per charge with the always-on display turned on. The updated Ultra is also getting the same new preventative health metrics as the base Galaxy Watch.

The Galaxy Watch Ultra 2 runs on a Qualcomm Snapdragon Wear Elite with 2GB of RAM and 64GB of storage. Like the previous version, it’s available in just one size, 47mm, with a 1.52-inch display. The Galaxy Watch Ultra 2 also got a $50 price hike, bringing it up to $699, with two color options, titanium silver and titanium gray.

Google also made an appearance at this year’s Galaxy Unpacked with a couple of new frames for the upcoming smartglasses it’s making in collaboration with Samsung. It unveiled new designs from Gentle Monster and Warby Parker, following two earlier designs from both brands announced in May at Google I/O. The first pairs of Google’s smartglasses are expected to launch later this year.

Follow topics and authors from this story to see more like this in your personalized homepage feed and to receive email updates.

#Samsung #Galaxy #Unpacked #biggest #announcementsFoldable Phones,Mobile,News,Samsung,Tech">Samsung Galaxy Unpacked 2026: The 6 biggest announcements

Samsung’s annual summer event kicked off on Wednesday morning with the company unveiling a new lineup of watches and foldables. Following weeks of rumors and leaks, Samsung announced the Galaxy Z Fold 8 with a completely new design that’s shorter and wider than last year’s Fold, a new “Ultra” Fold, an updated Flip model, and refreshed versions of the Galaxy smartwatches.

If you weren’t able to watch the event yourself, you can catch up with all of this year’s biggest Galaxy Unpacked announcements below.

Photo: David Imel / The Verge

The highlight of Galaxy Unpacked was the Galaxy Z Fold 8, which got a major redesign from last year’s Z Fold 7. The new design is shorter and wider, with a 7.6-inch inside display and a 5.5-inch outside display. It’s a tad thicker at 4.5mm unfolded and 9.7mm folded, compared to 4.2mm and 8.9mm, respectively, for the Z Fold 7.

The new Fold also features an updated hinge design with Samsung’s new Flex Titanium display tech. It doesn’t completely eliminate the crease on the inside display, but it does make it significantly less noticeable than the crease on Samsung’s previous foldables. The new Z Fold 8 Ultra and Z Flip 8 also got the Flex Titanium display upgrade.

The Z Fold 8 runs on a Qualcomm Snapdragon 8 Elite Gen 5 for Galaxy with up to 16GB of RAM and 1TB of storage. The camera setup is a step down from the Z Fold 7 — the Z Fold 8 has two main cameras instead of three, a 50MP wide and a 50MP ultra wide. The cover screen camera and inside camera are both 10MP like the Z Fold 7, though.

The Z Fold 8 starts at $1,899 and comes in four colors: lavender, graphite, cream, and pistachio (for online orders only).

Photo: Dominic Preston / The Verge

While the standard Z Fold 8 got a revamped design, the new Galaxy Z Fold 8 Ultra inherited the design from last year’s Z Fold 7. Samsung’s new top-tier foldable is powered by a Qualcomm Snapdragon 8 Elite Gen 5 for Galaxy with up to 16GB of RAM and 1TB of storage.

The Ultra features a larger 5,000mAh battery, compared to the 4,400mAh battery in the Z Fold 7. The phone also supports 45W wired charging and 20W wireless charging, an improvement over the Z Fold 7’s 25W wired / 15W wireless charging. The camera setup is similar to the Z Fold 7 with a 200MP wide / 50MP ultra wide / 10MP telephoto main camera and 10MP selfie cameras on the inside and cover displays.

The Z Fold 8 Ultra starts at $2,099 and comes in four colors: graphite, cream, violet shadow, and green shadow (for online orders only).

A hand holding a closed Samsung Galaxy Flip 8, with the front screen on

Photo: David Imel / The Verge

Samsung announced the Galaxy Z Flip 8 with some spec bumps, but no major design changes. It now runs on a Qualcomm Snapdragon 8 Elite Gen 5 processor, an upgrade from the Exynos 2500 chip that powered the previous Z Flip 7. It also includes 12GB of RAM with options for 256GB or 512GB of storage (but still no 1TB option).

Like last year’s model, it has a 6.9-inch inside display and a 4.1-inch cover display, with a 4,300mAh battery. While it looks the same overall, the cover display is a bit more versatile now thanks to a few new gestures and access to an app drawer. It’s also slightly thinner at 13.1mm folded and 6.1mm unfolded. Unfortunately, it’s also $100 more expensive than the Flip 7, starting at $1,199. The phone comes in four colors: pink, graphite, cream, and mint (for online orders only).

Photo: Dominic Preston / The Verge

The Galaxy Watch got a refresh at Galaxy Unpacked with a new processor, Qualcomm’s Snapdragon Wear Elite. It once again comes in two sizes, 44mm and 40mm. The larger 44mm model has a 1.47-inch display and a 445mAh battery, while the 40mm version includes a slightly smaller 1.34-inch display and a 390mAh battery. Samsung says both sizes can last up to 30 hours per charge with the always-on display turned on. Both also include 2GB of RAM and 32GB of storage.

In addition to spec improvements, the highlight of this year’s Galaxy Watch refresh are four new preventative health metrics: Vitals, Heart Health Score, Daily Cardio Load, and Fitness Index. All four will also be available on the new Galaxy Watch Ultra 2, and may help Samsung’s smartwatches compete with Apple’s wearables.

Unfortunately, the Galaxy Watch 9 got a $30 price bump from last year, so it now starts at $379. The 44mm version comes in graphite and silver while the 40mm one is available in graphite and cream.

The new Galaxy Watch Ultra 2 packs an impressive battery

Photo: Dominic Preston / The Verge

Samsung announced the Galaxy Watch Ultra 2, not to be confused with the second-generation version of the original Galaxy Watch Ultra from last year. The new Ultra includes a significantly larger battery at a whopping 800mAh, up from 590mAh in last year’s Ultra, which somehow fits into a case that’s 12 percent thinner than the previous model. Samsung says it can last up to 60 hours per charge with the always-on display turned on. The updated Ultra is also getting the same new preventative health metrics as the base Galaxy Watch.

The Galaxy Watch Ultra 2 runs on a Qualcomm Snapdragon Wear Elite with 2GB of RAM and 64GB of storage. Like the previous version, it’s available in just one size, 47mm, with a 1.52-inch display. The Galaxy Watch Ultra 2 also got a $50 price hike, bringing it up to $699, with two color options, titanium silver and titanium gray.

Google also made an appearance at this year’s Galaxy Unpacked with a couple of new frames for the upcoming smartglasses it’s making in collaboration with Samsung. It unveiled new designs from Gentle Monster and Warby Parker, following two earlier designs from both brands announced in May at Google I/O. The first pairs of Google’s smartglasses are expected to launch later this year.

Follow topics and authors from this story to see more like this in your personalized homepage feed and to receive email updates.
#Samsung #Galaxy #Unpacked #biggest #announcementsFoldable Phones,Mobile,News,Samsung,Tech

Samsung’s annual summer event kicked off on Wednesday morning with the company unveiling a new…

Halliday’s original smart glasses at CES 2025. I was not a fan. The glasses had a tiny, movable display window embedded into the frame that was incredibly finicky to see, and my 30-minute demo left me with achy eyeballs. It was an interesting concept with terrible execution, especially compared to the several other smart glasses on the show floor. So I was skeptical when a few weeks ago, Halliday reached out to say its second attempt at smart glasses was much better.

Well, having tried the Halliday Gen 2, I’m happy to report these are better glasses. That secret display window is gone, replaced by more traditional but discreet waveguides. They’re not like the Meta Display’s nigh-invisible screens. You can still spot the reflection if angled just right, but they’re considerably easier to see. And inside of a single-lens display, the Gen 2 has one for each eye, giving you a much larger screen to look at. Spec-wise, the Gen 2’s displays are monochrome green, with a maximum brightness of 1,600 nits and 600 by 300 pixel resolution per eye.

On my face, the Gen 2 has a nondescript design but is very lightweight compared to other display glasses I’ve tried. The display was also easily visible inside a dark bar, though I didn’t get a chance to see how it’d fare in direct sunlight. The four-mic array was able to pick up commands despite the ambient noise, and Halliday told me that it gets about 12 hours of typical use. That’s partly because these aren’t camera glasses. The exclusion of the camera was a deliberate choice, both for privacy and to extend battery life. That’s because these are more so meant to be a tool for work meetings.

With the Gen 2, Halliday is launching a feature called Meeting Flow. It’s meant to help you follow along in a conversation, using AI to surface context or facts without needing to look at your laptop or phone. I’ve seen this in other smart glasses to varying degrees of success. (Mostly non-success.) More interesting are the so-called Thread Tracker, Decision Confirmation, and Commitment Check features. The idea is to provide real-time updates about what decisions have been made in a meeting, what items need following up on, and a visualization of a meeting’s overall conversation flow. For example, Thread Tracker might show that a team meeting started off talking about budget allocations, before moving on to potential new hires and timelines for those hires. Decision Confirmation might show that the meeting concluded that all new hires should be finished by a specific date. Lastly, Commitment Check verifies if action items have been assigned (and to whom) with a clear deadline. The glasses will also provide post-meeting transcripts and summaries.

I saw a brief glimpse of what this could look like at my demo, albeit a product interview is less conducive to these kinds of features than a typical planning meeting. That said, the glasses also support more general-use AI features like captioning, real-time translations for over 45 languages, the ability to take phone calls, and teleprompters/notecards for public speakers. Users can also make use of the Halliday AI assistant for voice control.

Overall, this is a much more tightly focused vision for a pair of smart glasses than Halliday’s original glasses. That said, we’ll have to see if the AI features are all that useful. So far, I’ve had little success with AI wearables successfully intuiting what I actually need surfaced in a conversation, or deriving the correct conclusions for to-do items. And at $599, the Gen 2 comes with a pretty steep price tag for the average person. That’s not including any extra costs for prescription lenses. (Halliday claims it’ll be able to handle my prescription, which is -10 in one eye and -8.75 in the other with monster astigmatism. We shall see!)

The Halliday Gen 2 are available for preorder starting today with a $10 deposit and a subsequent $100 discount on the final price. The glasses are expected to ship in September.

#Hallidays #latest #smart #glasses #feature #muchimproved #displayAI,Gadgets,Hands-on,News,Reviews,Tech,Wearable"> Halliday’s latest smart glasses feature a much-improved displayI first slipped on Halliday’s original smart glasses at CES 2025. I was not a fan. The glasses had a tiny, movable display window embedded into the frame that was incredibly finicky to see, and my 30-minute demo left me with achy eyeballs. It was an interesting concept with terrible execution, especially compared to the several other smart glasses on the show floor. So I was skeptical when a few weeks ago, Halliday reached out to say its second attempt at smart glasses was much better.Well, having tried the Halliday Gen 2, I’m happy to report these are better glasses. That secret display window is gone, replaced by more traditional but discreet waveguides. They’re not like the Meta Display’s nigh-invisible screens. You can still spot the reflection if angled just right, but they’re considerably easier to see. And inside of a single-lens display, the Gen 2 has one for each eye, giving you a much larger screen to look at. Spec-wise, the Gen 2’s displays are monochrome green, with a maximum brightness of 1,600 nits and 600 by 300 pixel resolution per eye.On my face, the Gen 2 has a nondescript design but is very lightweight compared to other display glasses I’ve tried. The display was also easily visible inside a dark bar, though I didn’t get a chance to see how it’d fare in direct sunlight. The four-mic array was able to pick up commands despite the ambient noise, and Halliday told me that it gets about 12 hours of typical use. That’s partly because these aren’t camera glasses. The exclusion of the camera was a deliberate choice, both for privacy and to extend battery life. That’s because these are more so meant to be a tool for work meetings.With the Gen 2, Halliday is launching a feature called Meeting Flow. It’s meant to help you follow along in a conversation, using AI to surface context or facts without needing to look at your laptop or phone. I’ve seen this in other smart glasses to varying degrees of success. (Mostly non-success.) More interesting are the so-called Thread Tracker, Decision Confirmation, and Commitment Check features. The idea is to provide real-time updates about what decisions have been made in a meeting, what items need following up on, and a visualization of a meeting’s overall conversation flow. For example, Thread Tracker might show that a team meeting started off talking about budget allocations, before moving on to potential new hires and timelines for those hires. Decision Confirmation might show that the meeting concluded that all new hires should be finished by a specific date. Lastly, Commitment Check verifies if action items have been assigned (and to whom) with a clear deadline. The glasses will also provide post-meeting transcripts and summaries.I saw a brief glimpse of what this could look like at my demo, albeit a product interview is less conducive to these kinds of features than a typical planning meeting. That said, the glasses also support more general-use AI features like captioning, real-time translations for over 45 languages, the ability to take phone calls, and teleprompters/notecards for public speakers. Users can also make use of the Halliday AI assistant for voice control.Overall, this is a much more tightly focused vision for a pair of smart glasses than Halliday’s original glasses. That said, we’ll have to see if the AI features are all that useful. So far, I’ve had little success with AI wearables successfully intuiting what I actually need surfaced in a conversation, or deriving the correct conclusions for to-do items. And at 9, the Gen 2 comes with a pretty steep price tag for the average person. That’s not including any extra costs for prescription lenses. (Halliday claims it’ll be able to handle my prescription, which is -10 in one eye and -8.75 in the other with monster astigmatism. We shall see!)The Halliday Gen 2 are available for preorder starting today with a  deposit and a subsequent 0 discount on the final price. The glasses are expected to ship in September.#Hallidays #latest #smart #glasses #feature #muchimproved #displayAI,Gadgets,Hands-on,News,Reviews,Tech,Wearable
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Halliday’s original smart glasses at CES 2025. I was not a fan. The glasses had a tiny, movable display window embedded into the frame that was incredibly finicky to see, and my 30-minute demo left me with achy eyeballs. It was an interesting concept with terrible execution, especially compared to the several other smart glasses on the show floor. So I was skeptical when a few weeks ago, Halliday reached out to say its second attempt at smart glasses was much better.

Well, having tried the Halliday Gen 2, I’m happy to report these are better glasses. That secret display window is gone, replaced by more traditional but discreet waveguides. They’re not like the Meta Display’s nigh-invisible screens. You can still spot the reflection if angled just right, but they’re considerably easier to see. And inside of a single-lens display, the Gen 2 has one for each eye, giving you a much larger screen to look at. Spec-wise, the Gen 2’s displays are monochrome green, with a maximum brightness of 1,600 nits and 600 by 300 pixel resolution per eye.

On my face, the Gen 2 has a nondescript design but is very lightweight compared to other display glasses I’ve tried. The display was also easily visible inside a dark bar, though I didn’t get a chance to see how it’d fare in direct sunlight. The four-mic array was able to pick up commands despite the ambient noise, and Halliday told me that it gets about 12 hours of typical use. That’s partly because these aren’t camera glasses. The exclusion of the camera was a deliberate choice, both for privacy and to extend battery life. That’s because these are more so meant to be a tool for work meetings.

With the Gen 2, Halliday is launching a feature called Meeting Flow. It’s meant to help you follow along in a conversation, using AI to surface context or facts without needing to look at your laptop or phone. I’ve seen this in other smart glasses to varying degrees of success. (Mostly non-success.) More interesting are the so-called Thread Tracker, Decision Confirmation, and Commitment Check features. The idea is to provide real-time updates about what decisions have been made in a meeting, what items need following up on, and a visualization of a meeting’s overall conversation flow. For example, Thread Tracker might show that a team meeting started off talking about budget allocations, before moving on to potential new hires and timelines for those hires. Decision Confirmation might show that the meeting concluded that all new hires should be finished by a specific date. Lastly, Commitment Check verifies if action items have been assigned (and to whom) with a clear deadline. The glasses will also provide post-meeting transcripts and summaries.

I saw a brief glimpse of what this could look like at my demo, albeit a product interview is less conducive to these kinds of features than a typical planning meeting. That said, the glasses also support more general-use AI features like captioning, real-time translations for over 45 languages, the ability to take phone calls, and teleprompters/notecards for public speakers. Users can also make use of the Halliday AI assistant for voice control.

Overall, this is a much more tightly focused vision for a pair of smart glasses than Halliday’s original glasses. That said, we’ll have to see if the AI features are all that useful. So far, I’ve had little success with AI wearables successfully intuiting what I actually need surfaced in a conversation, or deriving the correct conclusions for to-do items. And at $599, the Gen 2 comes with a pretty steep price tag for the average person. That’s not including any extra costs for prescription lenses. (Halliday claims it’ll be able to handle my prescription, which is -10 in one eye and -8.75 in the other with monster astigmatism. We shall see!)

The Halliday Gen 2 are available for preorder starting today with a $10 deposit and a subsequent $100 discount on the final price. The glasses are expected to ship in September.

#Hallidays #latest #smart #glasses #feature #muchimproved #displayAI,Gadgets,Hands-on,News,Reviews,Tech,Wearable">Halliday’s latest smart glasses feature a much-improved display

I first slipped on Halliday’s original smart glasses at CES 2025. I was not a fan. The glasses had a tiny, movable display window embedded into the frame that was incredibly finicky to see, and my 30-minute demo left me with achy eyeballs. It was an interesting concept with terrible execution, especially compared to the several other smart glasses on the show floor. So I was skeptical when a few weeks ago, Halliday reached out to say its second attempt at smart glasses was much better.

Well, having tried the Halliday Gen 2, I’m happy to report these are better glasses. That secret display window is gone, replaced by more traditional but discreet waveguides. They’re not like the Meta Display’s nigh-invisible screens. You can still spot the reflection if angled just right, but they’re considerably easier to see. And inside of a single-lens display, the Gen 2 has one for each eye, giving you a much larger screen to look at. Spec-wise, the Gen 2’s displays are monochrome green, with a maximum brightness of 1,600 nits and 600 by 300 pixel resolution per eye.

On my face, the Gen 2 has a nondescript design but is very lightweight compared to other display glasses I’ve tried. The display was also easily visible inside a dark bar, though I didn’t get a chance to see how it’d fare in direct sunlight. The four-mic array was able to pick up commands despite the ambient noise, and Halliday told me that it gets about 12 hours of typical use. That’s partly because these aren’t camera glasses. The exclusion of the camera was a deliberate choice, both for privacy and to extend battery life. That’s because these are more so meant to be a tool for work meetings.

With the Gen 2, Halliday is launching a feature called Meeting Flow. It’s meant to help you follow along in a conversation, using AI to surface context or facts without needing to look at your laptop or phone. I’ve seen this in other smart glasses to varying degrees of success. (Mostly non-success.) More interesting are the so-called Thread Tracker, Decision Confirmation, and Commitment Check features. The idea is to provide real-time updates about what decisions have been made in a meeting, what items need following up on, and a visualization of a meeting’s overall conversation flow. For example, Thread Tracker might show that a team meeting started off talking about budget allocations, before moving on to potential new hires and timelines for those hires. Decision Confirmation might show that the meeting concluded that all new hires should be finished by a specific date. Lastly, Commitment Check verifies if action items have been assigned (and to whom) with a clear deadline. The glasses will also provide post-meeting transcripts and summaries.

I saw a brief glimpse of what this could look like at my demo, albeit a product interview is less conducive to these kinds of features than a typical planning meeting. That said, the glasses also support more general-use AI features like captioning, real-time translations for over 45 languages, the ability to take phone calls, and teleprompters/notecards for public speakers. Users can also make use of the Halliday AI assistant for voice control.

Overall, this is a much more tightly focused vision for a pair of smart glasses than Halliday’s original glasses. That said, we’ll have to see if the AI features are all that useful. So far, I’ve had little success with AI wearables successfully intuiting what I actually need surfaced in a conversation, or deriving the correct conclusions for to-do items. And at $599, the Gen 2 comes with a pretty steep price tag for the average person. That’s not including any extra costs for prescription lenses. (Halliday claims it’ll be able to handle my prescription, which is -10 in one eye and -8.75 in the other with monster astigmatism. We shall see!)

The Halliday Gen 2 are available for preorder starting today with a $10 deposit and a subsequent $100 discount on the final price. The glasses are expected to ship in September.

#Hallidays #latest #smart #glasses #feature #muchimproved #displayAI,Gadgets,Hands-on,News,Reviews,Tech,Wearable

I first slipped on Halliday’s original smart glasses at CES 2025. I was not a…

entertainment

Alright, Fine, I’ll Clean the Endless Yellow Rooms You Added to Your House, You Jerk…

European Commission ruled that AliExpress didn’t take effective measures to reduce the dissemination of illegal products, noting the company “allocated insufficient staff” to verify products, and failed to remove unsafe toys and dangerous cosmetics for “multiple weeks” after they were detected.

“The spread of counterfeit clothing, unsafe toys, dangerous cosmetics and other illegal and harmful products is not an unavoidable cost of shopping online — it is a failure by AliExpress to comply with its obligations under the Digital Services Act,” EU tech chief Henna Virkkunen said in the announcement. “Scale is not an excuse; risks must be identified and addressed systematically to ensure consumers can safely shop online.”

This is the highest penalty ever imposed under the bloc’s DSA rulebook, followed by rival Chinese retailer Temu, which was also fined more than $230 million for similar DSA infractions in May. AliExpress now has until October 20th 2026 to remedy the breach, or risk facing additional periodic fines.

#AliExpress #fined #million #illegal #product #salesLaw,News,Online Shopping,Policy,Politics,Regulation,Tech"> AliExpress fined almost 0 million over illegal product salesAliExpress has been hit with a €550 million (about 9 million) fine for violating Europe’s Digital Services Act (DSA) rules by failing to prevent illegal, unsafe, or counterfeit products from being sold on the e-commerce platform. The European Commission ruled that AliExpress didn’t take effective measures to reduce the dissemination of illegal products, noting the company “allocated insufficient staff” to verify products, and failed to remove unsafe toys and dangerous cosmetics for “multiple weeks” after they were detected.“The spread of counterfeit clothing, unsafe toys, dangerous cosmetics and other illegal and harmful products is not an unavoidable cost of shopping online — it is a failure by AliExpress to comply with its obligations under the Digital Services Act,” EU tech chief Henna Virkkunen said in the announcement. “Scale is not an excuse; risks must be identified and addressed systematically to ensure consumers can safely shop online.”This is the highest penalty ever imposed under the bloc’s DSA rulebook, followed by rival Chinese retailer Temu, which was also fined more than 0 million for similar DSA infractions in May. AliExpress now has until October 20th 2026 to remedy the breach, or risk facing additional periodic fines.#AliExpress #fined #million #illegal #product #salesLaw,News,Online Shopping,Policy,Politics,Regulation,Tech
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European Commission ruled that AliExpress didn’t take effective measures to reduce the dissemination of illegal products, noting the company “allocated insufficient staff” to verify products, and failed to remove unsafe toys and dangerous cosmetics for “multiple weeks” after they were detected.

“The spread of counterfeit clothing, unsafe toys, dangerous cosmetics and other illegal and harmful products is not an unavoidable cost of shopping online — it is a failure by AliExpress to comply with its obligations under the Digital Services Act,” EU tech chief Henna Virkkunen said in the announcement. “Scale is not an excuse; risks must be identified and addressed systematically to ensure consumers can safely shop online.”

This is the highest penalty ever imposed under the bloc’s DSA rulebook, followed by rival Chinese retailer Temu, which was also fined more than $230 million for similar DSA infractions in May. AliExpress now has until October 20th 2026 to remedy the breach, or risk facing additional periodic fines.

#AliExpress #fined #million #illegal #product #salesLaw,News,Online Shopping,Policy,Politics,Regulation,Tech">AliExpress fined almost $630 million over illegal product sales

AliExpress has been hit with a €550 million (about $629 million) fine for violating Europe’s Digital Services Act (DSA) rules by failing to prevent illegal, unsafe, or counterfeit products from being sold on the e-commerce platform. The European Commission ruled that AliExpress didn’t take effective measures to reduce the dissemination of illegal products, noting the company “allocated insufficient staff” to verify products, and failed to remove unsafe toys and dangerous cosmetics for “multiple weeks” after they were detected.

“The spread of counterfeit clothing, unsafe toys, dangerous cosmetics and other illegal and harmful products is not an unavoidable cost of shopping online — it is a failure by AliExpress to comply with its obligations under the Digital Services Act,” EU tech chief Henna Virkkunen said in the announcement. “Scale is not an excuse; risks must be identified and addressed systematically to ensure consumers can safely shop online.”

This is the highest penalty ever imposed under the bloc’s DSA rulebook, followed by rival Chinese retailer Temu, which was also fined more than $230 million for similar DSA infractions in May. AliExpress now has until October 20th 2026 to remedy the breach, or risk facing additional periodic fines.

#AliExpress #fined #million #illegal #product #salesLaw,News,Online Shopping,Policy,Politics,Regulation,Tech

AliExpress has been hit with a €550 million (about $629 million) fine for violating Europe’s…

Installer homepage.)

This week, I’ve been recording the next season of Version History (this season’s finale is out on Sunday!), reading about data center heists and Backyard Baseball and the creator of Calvin and Hobbes, canceling my October plans to see Digger 30 or 40 times, taking on the new Knockout Tour routes in Mario Kart World, learning more than I ever intended about Staten Island thanks to Revisionist History, reading up on the history of the very first chatbot, and setting up my Flipper Busy Bar. I love the thing, and have no idea what to use it for.

I also have for you the movie of the summer, a great update to a great note-taking app, a new app for organizing your photos, and much more. Let’s go.

(As always, the best part of Installer is your ideas and tips. What are you reading / watching / playing / listening to / soldering together this week? Tell me everything: installer@theverge.com. And if you know someone else who might enjoy Installer, forward it to them and tell them to subscribe here.)

  • The Odyssey. I’ll be honest: I expected this movie to not be great. Hot director bites off too big a story, not even Christopher Nolan can hit every time, right? WRONG. The reviews are amazing, the whole thing actually feels very current, and I absolutely cannot wait to plant myself in an IMAX theater and soak in the epic-ness of this one. Several dozen times.
  • Bear 2.9. Bear’s tag-based system has always felt a little too limiting to me, but expanding the idea into Workspaces makes it way more powerful without being any more complex. So clever, so useful, still one of the best apps to write in across Apple devices.
  • The World Cup final. By just about any measure, Sunday’s game will be the biggest thing on TV… until we do this again in four years. This year’s tournament has been spectacular, and whether you like soccer or not, the final tends to be good TV. Treat it like the Super Bowl! Have a party!
  • How Microtransactions (Almost) Ruined Gaming, with Dan Soder.” Really good episode of Pablo Torre Finds Out that makes an imperfect but very compelling argument that we have almost completely lost the plot when it comes to gaming. But the fight is not yet entirely lost.
  • Aphera. I’ve been hearing good things about this new Mac-based photo editor, which is fast and powerful and aimed directly at replacing the ever-rising price of Adobe’s tools. Ditching Lightroom is a lot to ask, but I’m excited to give this a real shot.
  • Parchment. Chris Lawley, friend of Installer, shipped his notes-and-tasks app for Apple devices this week, and it’s really well done! It goes hard on just showing you what matters right now and hiding everything else, and I kind of appreciate that.
  • The Loading Museum. What a fun idea: a repository of all the things that have made us wait on our computers. Watch a photo load like it’s 1997, remember what it felt like to wait for the internet to connect, and learn what designers have always known about how to make slow things feel faster.
  • The Codex Micro. I love a shortcut button, and while I think $230 is an absurd price to pay for a bunch of buttons you could re-create with a Stream Deck or any number of other things, I do think these agent-controlling keys are pretty delightful. Work Louder stuff just tends to feel good.

(Tiny housekeeping note: From now on, when we do a special section like this, it’ll be in place of Screen Share for that week. I’ve heard from a bunch of folks that some issues are actually too much, and this feels like a good trade that also makes my life easier. Win-win!)

They say reading is dead. They are, in fact, incorrect. A couple of weeks ago, I asked you all to share your reading setups — the gadgets, the apps, the bookstores, the bookmark brands, the highlighter colors, everything. As always, you delivered! Since a bunch of you asked, before we get into all your great gear and advice, here’s my current setup:

  • I read mostly on one of three devices: a Kindle Paperwhite, an iPad Mini, or a Boox Palma 2. The iPad is for when I need to take lots of notes and highlights, the Palma goes everywhere with me, and the Paperwhite lives next to my bed. Almost all of my ebooks are in the Kindle universe; I wish that weren’t the case, and should probably switch to something more open, but it’s a hard change to make.
  • As a result, I mostly read books in the Kindle app, but all of the rest of my digital reading happens in Readwise Reader. I frequently dabble with both Instapaper and Matter, but Reader’s search, organization tools, and ability to parse and convert PDFs into a nice reading experience are just unmatched.
  • I use Feedbin for RSS reading. On my computer, I use Feedbin’s website; on mobile I mostly use Unread.
  • When I buy physical books, which I’m trying to do a lot more now that I have a toddler who sees me looking at screens all the time, I try to buy them from Bookshop.org. Or from my local library / bookstore. My book collection is growing for the first time in forever, and it’s a delight.

But enough about me! Here are the things I heard the most about from you:

  • The library! Yay libraries! So many of us are using Libby and Hoopla and MyLibro and Sora and so many other tools to make the most of our library cards. Absolutely love to see it.
  • The Kindle and the iPad Mini are the big winners among reading devices. No big surprise there, really. But I also heard from Kobo fans (both Clara and Libra), more than one devoted iPod Touch fan, and lots of believers in the Xteink X4. Oh, and of course, the Boox Palma remains a winner.
  • The most popular reading apps were, also unsurprisingly, Kindle and Apple Books. But there are some devoted BookFusion fans out there, too, and Bookshop.org’s app appears to be catching on.
  • We love a way to track our collection, and our progress. Both The StoryGraph and Book Tracker have a lot of fans, and practically everyone either quit or is looking to quit Goodreads.
  • Lots of us like to listen to books, which of course means Audible came up a few times. But a lot of us are also making good use of the 15 hours of audio that come with Spotify Premium.
  • BookBub, a great site for finding ebook sales, came up a bunch. So did Chirp, its sister site for audiobooks.
  • Saving and syncing highlights is an ongoing project for a lot of us. Lots of Readwise users out there, syncing stuff to Notion and Craft and Obsidian, but also a lot of folks building their own apps to make this easier.
  • I heard about, conservatively, 50 different RSS readers. Unread and Reeder were the RSS favorites, and Instapaper, Readwise Reader, and Wallabag are the go-tos for saving stuff for later.

One last note: I heard from a lot of people that keeping up with newsletters is a hard and unsolved problem. Do you send everything to a reading app? An RSS feed? Try to manage it in Gmail? Who knows! As you may have guessed, I also have a lot of newsletters I don’t know how to manage. If you have tips, I’m all ears. And thanks to everyone who shared their reading setups!

Here’s what the Installer community is into this week. I want to know what you’re into right now as well! Email installer@theverge.com or message me on Signal — @davidpierce.11 — with your recommendations for anything and everything, and we’ll feature some of our favorites here every week. For even more great recommendations, check out the replies to this post on Threads and this post on Bluesky.

“I’m moving from Google (Gmail) to a fantastic European alternative: Cirrux. With a sync service you can untie yourself from Big Tech, without losing your emails.” — Olaf

The Ghost in the Shell anime on Amazon is the best looking thing on TV. It’s as lore-dense as a concrete brick, but if you can look past that, it’s absolutely worth the watch.” — B Carzo

Gravity is the best / simplest note-taking app. Most note apps, as you take notes, they get lost as you add more, losing their relevance; with Gravity you can snap any note to the top of the page. The simplicity is brilliant.” — Andrew

“Thanks to Rohit for the 4×3 suggestion in last week’s Installer. The other game on the site, Smush, is also fantastic. Both are wonderful fresh takes on games from the New York Times.” — Kurt

“I ordered the Pebble Index 01 ring. I desperately want to dictate little notes to myself and opening an app on my phone is a lot of friction.” — Anna

“I just finished the book Seek Immediate Shelter by Vincent Yu. It follows a bunch of people in a small town as they get an emergency ‘incoming missile’ text, then the ‘false alert’ message about 20 minutes later, and how each person reacts during and after the alert. It was fantastic.” — Matt

“Recently stumbled upon Joon Lee’s YouTube channel. Fantastic deep dives on current sports/culture from an independent perspective. Spoiler – Most things have been ruined by gambling & private equity. In an age of hot takes and clickbait, he’s the breath of fresh air sports media fans need.” — Brett

“I’ve been playing around with Hypertexting, a new app that treats RSS (and your personal blog) like an open social network. It’s really interesting and has a lot of potential.” — Chris

“This week I’ve been reading The Interface Series, which was a sci-fi/horror web serial from about 10 years ago. Each chapter is posted as a comment in a random, unrelated Reddit thread, but it’s all been collated at /r/9M9H9E9. Fascinating speculative fiction that makes the most of its medium.” — Andie

I’ve always appreciated the size and power of an IMAX screen, but until I heard Matt Damon recently explain how strange it is to act into an IMAX camera, I don’t think I really understood how remarkable and complicated the technology really is. So of course I loved this Tested video on how IMAX is projected, this Christopher Nolan interview on how he thinks about formats, this dive into the dying art of 70mm, and this excellent explainer on the overall technology. Fine, Chris, I’ll drive halfway across the state to see this movie properly. You win.

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#apps #gadgets #tools #readerAI,Gadgets,Installer,Streaming,Tech"> The vertical video takeover is hereThis is The Stepback, a weekly newsletter breaking down one essential story from the tech world. For more on all things vertical video, follow David Pierce. The Stepback arrives in our subscribers’ inboxes on Sunday at 8AM ET. Opt in for The Stepback here.For a while, every social and media platform had its own identity. YouTube was for clips of TV shows and movies, and the home of so many members of a burgeoning creator community. Instagram was mostly pictures. Netflix was trying to be the on-demand HBO. Facebook was about friends. Twitter was about news. Snapchat was a messaging app.All these apps did have one important thing in common, though: They were growing up alongside the smartphone. Billions of new people were coming online for the first time, and they began to make content that made sense for the tall, skinny new devices in their hands. Selfies were a vertical art form, both because the photos filled the screen better and because it was just easier to hold the phone and take the photo that way. Some resisted the idea of vertical video for years — they’d argue that our eyes are meant to scan horizontally rather than vertically, and that vertical video looked bad on widescreen laptops. But ultimately phones won, and we hold our phones upright, so our phone experiences turned upright. That includes entertainment.As has been true so many times, Snap figured this out before anyone. It launched Stories in late 2013 as a slightly more relaxed way to see what your friends are up to. CEO Evan Spiegel called it a “totally new way to share your day with friends — or everyone.” It took off in a massive way, and by the middle of 2014 was the most popular feature on Snapchat. That’s the kind of virality that Mark Zuckerberg tends to notice, and by August of 2016, the feature had been copied more or less exactly into Instagram. Kevin Systrom, then the CEO of Instagram, said of Spiegel and Snapchat that “they deserve all the credit” for Stories. The implication? That this was no longer a proprietary feature of a single social network; it was just in the air. Stories were for everyone. They started showing up on LinkedIn, Tinder, Medium, and so many other places.Stories weren’t always video, but as cameras and upload speeds improved, video became the dominant medium in many ephemeral spaces. And video stories had two semi-magical properties: They were perfectly suited to endless, mindless scrolling, and they made it really easy to integrate ads. Only a few months after turning on Stories in Instagram, by which point half the platform’s users were already using Stories, Facebook began flooding ads into the product. The semi-randomness of Stories made ads actually seem less intrusive — you’d see a photo of a dog, a video of a hike, an ad for jeans, your friend’s makeup routine, brunch pics, an ad for blush. Video ads felt more premium, took up the whole screen, and were thus far more lucrative for the social platforms.With apologies to the short, brilliant life of Vine, the six-second video platform that helped invent so much about the video-first social network, it wasn’t until TikTok took off that things really turned again. The platform launched in the US in 2018, but had been popular for a few years in China as Douyin and elsewhere as Musical.ly. TikTok combined the vertical-first format of Stories with the permanence of YouTube, but it also made video easier than ever. It had filters like Instagram and Snapchat, but also supplied a steady stream of video ideas through the platform’s many trends, offered access to music and sound effects, and made it easy to stitch or duet a video.By defaulting to the purely algorithmic For You page, TikTok also freed creators from caring about curating their profile or worrying about posting too much — you could just pump out videos and trust the algorithm to deliver them. And so that’s what people did. Pretty quickly, TikTok became one of the fastest growing apps on the planet, and its daily usage numbers became the envy of the industry. Instagram may have had more users, but TikTok users spent far more time TikToking.When TikTok became a phenomenon, just about everyone jumped on the vertical video bandwagon. Reels launched in 2020 and became a core feature of both Instagram and Facebook; YouTube created Shorts a year later. By the end of 2021, Twitter had both launched and killed a similar feature called Fleets. By this point, this kind of full-screen, vertical-scrolling video was part of the lingua franca of the smartphone. At the same time, in a search for ever more engagement, these platforms were learning another lesson from TikTok: to stop relying on your friends to post interesting content, and instead to show you whatever the algorithm thinks you might like. Social networks were gone, replaced by social media — entertainment with a comments section.Short-form, vertical video has effectively won the internet. Business is booming, and viewers show no sign of tuning out. Meta said in 2024 that Instagram users were spending more than half their time in Reels, and said in 2025 the feature was turning into a  billion annual business across Meta’s apps. About 63 percent of young adults and teens are on TikTok, per Pew Research Center, and one in five teens reported being on the app “almost constantly.” YouTube reported 200 billion daily views of Shorts at the end of 2025, and said that Shorts earned more money per watch hour than standard YouTube videos.The last three or four years have been about relentless standardization in social media. The pace with which these products copy each other, and regress back toward parity, has been absolutely astonishing. First, Shorts and Reels both aped TikTok’s design, its duetting and stitching, and its close relationship with sounds and music. Then they bought into TikTok’s idea of prioritizing content over connection — followers are dead, long live the algorithm. TikTok pushed hard into shopping, then suddenly Reels and Shorts became a lot more shoppable. YouTube began to grow on TVs, and suddenly TikTok and Instagram started investing in its own TV apps. Videos got longer and longer across platforms, to allow more ads. All the apps got really into livestreaming for a while. And micro dramas. They’ve relentlessly copied each other on big things like letting users control their algorithm, and small things like Clear Mode.As the social platforms spin endlessly around each other, they’ve gotten some surprising company. Company after company started to notice their content floating around social media platforms, often in dubiously legal ways, and tried to take some of the watch time for themselves. Spotify decided it, too, wanted to be a video service, and built a vertical-scrolling feed for users to explore. Disney built a TikTok clone for ESPN and another for Disney Plus, both called Verts. Netflix, Prime Video, and Paramount Plus all called their clones Clips.There are two reasons for the ongoing onslaught of short-form vertical video: time spent and advertising. The endlessly scrolling video feed turns out to be one of the most engrossing forms of entertainment ever devised (to the point that it has become a regulatory problem for the social platforms), and in a relentless competition for eyeballs and attention, it has become everyone’s best idea. In 2024, when Meta switched its default video player to a vertical-first layout across all platforms, the race was officially won.Meanwhile, as those platforms have captured more of our time and attention, short-form video has become a dominant force of advertising on the internet, which means advertisers are already comfortable making ads designed to go between videos in the feed. And as so many companies turn to AI to do their ad targeting, all they really need is the creative to get started. “So long as clients give us different assets — a six-second ad, a 15-second ad, a long-format, a vertical ad — AI is essentially powering everything else,” YouTube’s Brian Albert told me last year. “From the audiences you’re reaching, to the contextual placements, to the ad that’s actually showing.” The combination of AI and vertical video has become a self-fulfilling prophecy: The more it wins, the easier it becomes for everyone else to get on board, and so it just keeps winning.Vertical video haters, I have bad news: It’s only going to get worse. TikTok, YouTube, and Instagram are if anything going to become more short-form and vertical, since those short videos are easier to make and easier to load into endlessly scrolling feeds. Video services used to require you to pick something and press play, but now all they need is for you to open the app and they can start showing you ads. They’re not going to want to go back. Here’s how dominant video is: Facebook is testing a new version of the app that loads a full-screen video feed when you open the app. If that happens, there will be no Facebook — only Reels. After all this time, they’ve trained users to want and expect this kind of fast-paced, instant-gratification entertainment, to the point where even a full-length movie can feel like a chore.Meanwhile, after years of raising prices, streaming services around the world are hoping they can turn to advertising to keep growing. For a while, they could coast on the back of linear TV, borrowing those ads to run on digital platforms. But a TikTok ad won’t make any sense on Netflix, so Netflix decided the best thing to do is build something that looks more like TikTok. A recent HubSpot report found that short-form video was by a wide margin both the most-used and most successful form of marketing content in 2025, and that it was the format in which marketers planned to invest the most this year.All that said, there are glimmers of a bigger shift beginning to happen. Fed up with the algorithm, some users are starting to demand the return of friends and family in social media. But more broadly, more and more young people are deciding to put down their phones, resist the invasion of AI into their lives, and look for different kinds of entertainment. Movie theaters are having a big year; one of the year’s most exciting new phones is a flip phone. As long as we live in this era of social media and entertainment, vertical video is going to win. It would take a cultural revolution to stop it — and there might just be one brewing.The best way to understand TikTok, Instagram, and Snapchat in particular right now is as a combination of two things: a streaming service and an inbox. Studies have found that the most popular thing to do is watch videos, and the second most popular thing is to send videos to someone else. Actually posting? Way down the list. (YouTube, by the way, is desperately trying to make DMs happen.)If you’ve made it this far and you’re thinking, no way, you’re way overstating it? I’m so sorry to say this, but you might just be old. At this point, YouTube and Facebook cross generations and demographics, but Pew and others have found that TikTok, Snapchat, and Instagram are effectively ubiquitous among young people in particular.It’s important to remember that views are lies. Everyone on the internet has an incentive to make their platform seem big and vibrant and popular, and they will invent whatever new metrics they need to do so.New York published a great piece earlier this year about the shifting vibes on YouTube, and the ways in which the creator economy is being unmoored in part by the shift to vertical video. Yeah, the platforms have figured out how to make money from your video feed, but it’s not as simple for creators. All the way back in 2015, The New York Times’ Farhad Manjoo made a good case for vertical video. It’s a fun reminder of just how contentious the idea was!You should read my colleague Mia Sato’s story on the clip economy, which turns shows, movies, podcasts, and more into bite-size pieces for social platforms. It’s a weird industry, but it works — and you can see why the streamers want to compete.Here’s a really good breakdown of all the things TikTok got right, from its algorithm to its whole approach to content. Every bit of it has been copied relentlessly ever since.Follow topics and authors from this story to see more like this in your personalized homepage feed and to receive email updates.David PierceCloseDavid PiercePosts from this author will be added to your daily email digest and your homepage feed.FollowFollowSee All by David PierceColumnCloseColumnPosts from this topic will be added to your daily email digest and your homepage feed.FollowFollowSee All ColumnCreatorsCloseCreatorsPosts from this topic will be added to your daily email digest and your homepage feed.FollowFollowSee All CreatorsFacebookCloseFacebookPosts from this topic will be added to your daily email digest and your homepage feed.FollowFollowSee All FacebookInstagramCloseInstagramPosts from this topic will be added to your daily email digest and your homepage feed.FollowFollowSee All InstagramMetaCloseMetaPosts from this topic will be added to your daily email digest and your homepage feed.FollowFollowSee All MetaSocial MediaCloseSocial MediaPosts from this topic will be added to your daily email digest and your homepage feed.FollowFollowSee All Social MediaStreamingCloseStreamingPosts from this topic will be added to your daily email digest and your homepage feed.FollowFollowSee All StreamingTechCloseTechPosts from this topic will be added to your daily email digest and your homepage feed.FollowFollowSee All TechThe StepbackCloseThe StepbackPosts from this topic will be added to your daily email digest and your homepage feed.FollowFollowSee All The StepbackTikTokCloseTikTokPosts from this topic will be added to your daily email digest and your homepage feed.FollowFollowSee All TikTokYouTubeCloseYouTubePosts from this topic will be added to your daily email digest and your homepage feed.FollowFollowSee All YouTube#vertical #video #takeoverColumn,Creators,Facebook,Instagram,Meta,Social Media,Streaming,Tech,The Stepback,TikTok,YouTube
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Installer homepage.)

This week, I’ve been recording the next season of Version History (this season’s finale is out on Sunday!), reading about data center heists and Backyard Baseball and the creator of Calvin and Hobbes, canceling my October plans to see Digger 30 or 40 times, taking on the new Knockout Tour routes in Mario Kart World, learning more than I ever intended about Staten Island thanks to Revisionist History, reading up on the history of the very first chatbot, and setting up my Flipper Busy Bar. I love the thing, and have no idea what to use it for.

I also have for you the movie of the summer, a great update to a great note-taking app, a new app for organizing your photos, and much more. Let’s go.

(As always, the best part of Installer is your ideas and tips. What are you reading / watching / playing / listening to / soldering together this week? Tell me everything: installer@theverge.com. And if you know someone else who might enjoy Installer, forward it to them and tell them to subscribe here.)

  • The Odyssey. I’ll be honest: I expected this movie to not be great. Hot director bites off too big a story, not even Christopher Nolan can hit every time, right? WRONG. The reviews are amazing, the whole thing actually feels very current, and I absolutely cannot wait to plant myself in an IMAX theater and soak in the epic-ness of this one. Several dozen times.
  • Bear 2.9. Bear’s tag-based system has always felt a little too limiting to me, but expanding the idea into Workspaces makes it way more powerful without being any more complex. So clever, so useful, still one of the best apps to write in across Apple devices.
  • The World Cup final. By just about any measure, Sunday’s game will be the biggest thing on TV… until we do this again in four years. This year’s tournament has been spectacular, and whether you like soccer or not, the final tends to be good TV. Treat it like the Super Bowl! Have a party!
  • How Microtransactions (Almost) Ruined Gaming, with Dan Soder.” Really good episode of Pablo Torre Finds Out that makes an imperfect but very compelling argument that we have almost completely lost the plot when it comes to gaming. But the fight is not yet entirely lost.
  • Aphera. I’ve been hearing good things about this new Mac-based photo editor, which is fast and powerful and aimed directly at replacing the ever-rising price of Adobe’s tools. Ditching Lightroom is a lot to ask, but I’m excited to give this a real shot.
  • Parchment. Chris Lawley, friend of Installer, shipped his notes-and-tasks app for Apple devices this week, and it’s really well done! It goes hard on just showing you what matters right now and hiding everything else, and I kind of appreciate that.
  • The Loading Museum. What a fun idea: a repository of all the things that have made us wait on our computers. Watch a photo load like it’s 1997, remember what it felt like to wait for the internet to connect, and learn what designers have always known about how to make slow things feel faster.
  • The Codex Micro. I love a shortcut button, and while I think $230 is an absurd price to pay for a bunch of buttons you could re-create with a Stream Deck or any number of other things, I do think these agent-controlling keys are pretty delightful. Work Louder stuff just tends to feel good.

(Tiny housekeeping note: From now on, when we do a special section like this, it’ll be in place of Screen Share for that week. I’ve heard from a bunch of folks that some issues are actually too much, and this feels like a good trade that also makes my life easier. Win-win!)

They say reading is dead. They are, in fact, incorrect. A couple of weeks ago, I asked you all to share your reading setups — the gadgets, the apps, the bookstores, the bookmark brands, the highlighter colors, everything. As always, you delivered! Since a bunch of you asked, before we get into all your great gear and advice, here’s my current setup:

  • I read mostly on one of three devices: a Kindle Paperwhite, an iPad Mini, or a Boox Palma 2. The iPad is for when I need to take lots of notes and highlights, the Palma goes everywhere with me, and the Paperwhite lives next to my bed. Almost all of my ebooks are in the Kindle universe; I wish that weren’t the case, and should probably switch to something more open, but it’s a hard change to make.
  • As a result, I mostly read books in the Kindle app, but all of the rest of my digital reading happens in Readwise Reader. I frequently dabble with both Instapaper and Matter, but Reader’s search, organization tools, and ability to parse and convert PDFs into a nice reading experience are just unmatched.
  • I use Feedbin for RSS reading. On my computer, I use Feedbin’s website; on mobile I mostly use Unread.
  • When I buy physical books, which I’m trying to do a lot more now that I have a toddler who sees me looking at screens all the time, I try to buy them from Bookshop.org. Or from my local library / bookstore. My book collection is growing for the first time in forever, and it’s a delight.

But enough about me! Here are the things I heard the most about from you:

  • The library! Yay libraries! So many of us are using Libby and Hoopla and MyLibro and Sora and so many other tools to make the most of our library cards. Absolutely love to see it.
  • The Kindle and the iPad Mini are the big winners among reading devices. No big surprise there, really. But I also heard from Kobo fans (both Clara and Libra), more than one devoted iPod Touch fan, and lots of believers in the Xteink X4. Oh, and of course, the Boox Palma remains a winner.
  • The most popular reading apps were, also unsurprisingly, Kindle and Apple Books. But there are some devoted BookFusion fans out there, too, and Bookshop.org’s app appears to be catching on.
  • We love a way to track our collection, and our progress. Both The StoryGraph and Book Tracker have a lot of fans, and practically everyone either quit or is looking to quit Goodreads.
  • Lots of us like to listen to books, which of course means Audible came up a few times. But a lot of us are also making good use of the 15 hours of audio that come with Spotify Premium.
  • BookBub, a great site for finding ebook sales, came up a bunch. So did Chirp, its sister site for audiobooks.
  • Saving and syncing highlights is an ongoing project for a lot of us. Lots of Readwise users out there, syncing stuff to Notion and Craft and Obsidian, but also a lot of folks building their own apps to make this easier.
  • I heard about, conservatively, 50 different RSS readers. Unread and Reeder were the RSS favorites, and Instapaper, Readwise Reader, and Wallabag are the go-tos for saving stuff for later.

One last note: I heard from a lot of people that keeping up with newsletters is a hard and unsolved problem. Do you send everything to a reading app? An RSS feed? Try to manage it in Gmail? Who knows! As you may have guessed, I also have a lot of newsletters I don’t know how to manage. If you have tips, I’m all ears. And thanks to everyone who shared their reading setups!

Here’s what the Installer community is into this week. I want to know what you’re into right now as well! Email installer@theverge.com or message me on Signal — @davidpierce.11 — with your recommendations for anything and everything, and we’ll feature some of our favorites here every week. For even more great recommendations, check out the replies to this post on Threads and this post on Bluesky.

“I’m moving from Google (Gmail) to a fantastic European alternative: Cirrux. With a sync service you can untie yourself from Big Tech, without losing your emails.” — Olaf

The Ghost in the Shell anime on Amazon is the best looking thing on TV. It’s as lore-dense as a concrete brick, but if you can look past that, it’s absolutely worth the watch.” — B Carzo

Gravity is the best / simplest note-taking app. Most note apps, as you take notes, they get lost as you add more, losing their relevance; with Gravity you can snap any note to the top of the page. The simplicity is brilliant.” — Andrew

“Thanks to Rohit for the 4×3 suggestion in last week’s Installer. The other game on the site, Smush, is also fantastic. Both are wonderful fresh takes on games from the New York Times.” — Kurt

“I ordered the Pebble Index 01 ring. I desperately want to dictate little notes to myself and opening an app on my phone is a lot of friction.” — Anna

“I just finished the book Seek Immediate Shelter by Vincent Yu. It follows a bunch of people in a small town as they get an emergency ‘incoming missile’ text, then the ‘false alert’ message about 20 minutes later, and how each person reacts during and after the alert. It was fantastic.” — Matt

“Recently stumbled upon Joon Lee’s YouTube channel. Fantastic deep dives on current sports/culture from an independent perspective. Spoiler – Most things have been ruined by gambling & private equity. In an age of hot takes and clickbait, he’s the breath of fresh air sports media fans need.” — Brett

“I’ve been playing around with Hypertexting, a new app that treats RSS (and your personal blog) like an open social network. It’s really interesting and has a lot of potential.” — Chris

“This week I’ve been reading The Interface Series, which was a sci-fi/horror web serial from about 10 years ago. Each chapter is posted as a comment in a random, unrelated Reddit thread, but it’s all been collated at /r/9M9H9E9. Fascinating speculative fiction that makes the most of its medium.” — Andie

I’ve always appreciated the size and power of an IMAX screen, but until I heard Matt Damon recently explain how strange it is to act into an IMAX camera, I don’t think I really understood how remarkable and complicated the technology really is. So of course I loved this Tested video on how IMAX is projected, this Christopher Nolan interview on how he thinks about formats, this dive into the dying art of 70mm, and this excellent explainer on the overall technology. Fine, Chris, I’ll drive halfway across the state to see this movie properly. You win.

Follow topics and authors from this story to see more like this in your personalized homepage feed and to receive email updates.

#apps #gadgets #tools #readerAI,Gadgets,Installer,Streaming,Tech">The apps, gadgets, and tools every reader needs

Hi, friends! Welcome to Installer No. 136, your guide to the best and Verge-iest stuff in the world. (If you’re new here, welcome, hope your neighborhood isn’t as smoky as mine, and also you can read all the old editions at the Installer homepage.)

This week, I’ve been recording the next season of Version History (this season’s finale is out on Sunday!), reading about data center heists and Backyard Baseball and the creator of Calvin and Hobbes, canceling my October plans to see Digger 30 or 40 times, taking on the new Knockout Tour routes in Mario Kart World, learning more than I ever intended about Staten Island thanks to Revisionist History, reading up on the history of the very first chatbot, and setting up my Flipper Busy Bar. I love the thing, and have no idea what to use it for.

I also have for you the movie of the summer, a great update to a great note-taking app, a new app for organizing your photos, and much more. Let’s go.

(As always, the best part of Installer is your ideas and tips. What are you reading / watching / playing / listening to / soldering together this week? Tell me everything: installer@theverge.com. And if you know someone else who might enjoy Installer, forward it to them and tell them to subscribe here.)

  • The Odyssey. I’ll be honest: I expected this movie to not be great. Hot director bites off too big a story, not even Christopher Nolan can hit every time, right? WRONG. The reviews are amazing, the whole thing actually feels very current, and I absolutely cannot wait to plant myself in an IMAX theater and soak in the epic-ness of this one. Several dozen times.
  • Bear 2.9. Bear’s tag-based system has always felt a little too limiting to me, but expanding the idea into Workspaces makes it way more powerful without being any more complex. So clever, so useful, still one of the best apps to write in across Apple devices.
  • The World Cup final. By just about any measure, Sunday’s game will be the biggest thing on TV… until we do this again in four years. This year’s tournament has been spectacular, and whether you like soccer or not, the final tends to be good TV. Treat it like the Super Bowl! Have a party!
  • How Microtransactions (Almost) Ruined Gaming, with Dan Soder.” Really good episode of Pablo Torre Finds Out that makes an imperfect but very compelling argument that we have almost completely lost the plot when it comes to gaming. But the fight is not yet entirely lost.
  • Aphera. I’ve been hearing good things about this new Mac-based photo editor, which is fast and powerful and aimed directly at replacing the ever-rising price of Adobe’s tools. Ditching Lightroom is a lot to ask, but I’m excited to give this a real shot.
  • Parchment. Chris Lawley, friend of Installer, shipped his notes-and-tasks app for Apple devices this week, and it’s really well done! It goes hard on just showing you what matters right now and hiding everything else, and I kind of appreciate that.
  • The Loading Museum. What a fun idea: a repository of all the things that have made us wait on our computers. Watch a photo load like it’s 1997, remember what it felt like to wait for the internet to connect, and learn what designers have always known about how to make slow things feel faster.
  • The Codex Micro. I love a shortcut button, and while I think $230 is an absurd price to pay for a bunch of buttons you could re-create with a Stream Deck or any number of other things, I do think these agent-controlling keys are pretty delightful. Work Louder stuff just tends to feel good.

(Tiny housekeeping note: From now on, when we do a special section like this, it’ll be in place of Screen Share for that week. I’ve heard from a bunch of folks that some issues are actually too much, and this feels like a good trade that also makes my life easier. Win-win!)

They say reading is dead. They are, in fact, incorrect. A couple of weeks ago, I asked you all to share your reading setups — the gadgets, the apps, the bookstores, the bookmark brands, the highlighter colors, everything. As always, you delivered! Since a bunch of you asked, before we get into all your great gear and advice, here’s my current setup:

  • I read mostly on one of three devices: a Kindle Paperwhite, an iPad Mini, or a Boox Palma 2. The iPad is for when I need to take lots of notes and highlights, the Palma goes everywhere with me, and the Paperwhite lives next to my bed. Almost all of my ebooks are in the Kindle universe; I wish that weren’t the case, and should probably switch to something more open, but it’s a hard change to make.
  • As a result, I mostly read books in the Kindle app, but all of the rest of my digital reading happens in Readwise Reader. I frequently dabble with both Instapaper and Matter, but Reader’s search, organization tools, and ability to parse and convert PDFs into a nice reading experience are just unmatched.
  • I use Feedbin for RSS reading. On my computer, I use Feedbin’s website; on mobile I mostly use Unread.
  • When I buy physical books, which I’m trying to do a lot more now that I have a toddler who sees me looking at screens all the time, I try to buy them from Bookshop.org. Or from my local library / bookstore. My book collection is growing for the first time in forever, and it’s a delight.

But enough about me! Here are the things I heard the most about from you:

  • The library! Yay libraries! So many of us are using Libby and Hoopla and MyLibro and Sora and so many other tools to make the most of our library cards. Absolutely love to see it.
  • The Kindle and the iPad Mini are the big winners among reading devices. No big surprise there, really. But I also heard from Kobo fans (both Clara and Libra), more than one devoted iPod Touch fan, and lots of believers in the Xteink X4. Oh, and of course, the Boox Palma remains a winner.
  • The most popular reading apps were, also unsurprisingly, Kindle and Apple Books. But there are some devoted BookFusion fans out there, too, and Bookshop.org’s app appears to be catching on.
  • We love a way to track our collection, and our progress. Both The StoryGraph and Book Tracker have a lot of fans, and practically everyone either quit or is looking to quit Goodreads.
  • Lots of us like to listen to books, which of course means Audible came up a few times. But a lot of us are also making good use of the 15 hours of audio that come with Spotify Premium.
  • BookBub, a great site for finding ebook sales, came up a bunch. So did Chirp, its sister site for audiobooks.
  • Saving and syncing highlights is an ongoing project for a lot of us. Lots of Readwise users out there, syncing stuff to Notion and Craft and Obsidian, but also a lot of folks building their own apps to make this easier.
  • I heard about, conservatively, 50 different RSS readers. Unread and Reeder were the RSS favorites, and Instapaper, Readwise Reader, and Wallabag are the go-tos for saving stuff for later.

One last note: I heard from a lot of people that keeping up with newsletters is a hard and unsolved problem. Do you send everything to a reading app? An RSS feed? Try to manage it in Gmail? Who knows! As you may have guessed, I also have a lot of newsletters I don’t know how to manage. If you have tips, I’m all ears. And thanks to everyone who shared their reading setups!

Here’s what the Installer community is into this week. I want to know what you’re into right now as well! Email installer@theverge.com or message me on Signal — @davidpierce.11 — with your recommendations for anything and everything, and we’ll feature some of our favorites here every week. For even more great recommendations, check out the replies to this post on Threads and this post on Bluesky.

“I’m moving from Google (Gmail) to a fantastic European alternative: Cirrux. With a sync service you can untie yourself from Big Tech, without losing your emails.” — Olaf

The Ghost in the Shell anime on Amazon is the best looking thing on TV. It’s as lore-dense as a concrete brick, but if you can look past that, it’s absolutely worth the watch.” — B Carzo

Gravity is the best / simplest note-taking app. Most note apps, as you take notes, they get lost as you add more, losing their relevance; with Gravity you can snap any note to the top of the page. The simplicity is brilliant.” — Andrew

“Thanks to Rohit for the 4×3 suggestion in last week’s Installer. The other game on the site, Smush, is also fantastic. Both are wonderful fresh takes on games from the New York Times.” — Kurt

“I ordered the Pebble Index 01 ring. I desperately want to dictate little notes to myself and opening an app on my phone is a lot of friction.” — Anna

“I just finished the book Seek Immediate Shelter by Vincent Yu. It follows a bunch of people in a small town as they get an emergency ‘incoming missile’ text, then the ‘false alert’ message about 20 minutes later, and how each person reacts during and after the alert. It was fantastic.” — Matt

“Recently stumbled upon Joon Lee’s YouTube channel. Fantastic deep dives on current sports/culture from an independent perspective. Spoiler – Most things have been ruined by gambling & private equity. In an age of hot takes and clickbait, he’s the breath of fresh air sports media fans need.” — Brett

“I’ve been playing around with Hypertexting, a new app that treats RSS (and your personal blog) like an open social network. It’s really interesting and has a lot of potential.” — Chris

“This week I’ve been reading The Interface Series, which was a sci-fi/horror web serial from about 10 years ago. Each chapter is posted as a comment in a random, unrelated Reddit thread, but it’s all been collated at /r/9M9H9E9. Fascinating speculative fiction that makes the most of its medium.” — Andie

I’ve always appreciated the size and power of an IMAX screen, but until I heard Matt Damon recently explain how strange it is to act into an IMAX camera, I don’t think I really understood how remarkable and complicated the technology really is. So of course I loved this Tested video on how IMAX is projected, this Christopher Nolan interview on how he thinks about formats, this dive into the dying art of 70mm, and this excellent explainer on the overall technology. Fine, Chris, I’ll drive halfway across the state to see this movie properly. You win.

Follow topics and authors from this story to see more like this in your personalized homepage feed and to receive email updates.
#apps #gadgets #tools #readerAI,Gadgets,Installer,Streaming,Tech

Hi, friends! Welcome to Installer No. 136, your guide to the best and Verge-iest stuff…

billed as “the future of policing in the digital age.” As press, I was prohibited from entering, but from a number of nearby locations, I met with attendees who told me what was being sold within. And I learned that AI is threatening to seize the very heart of policing in America.

The promise of AI at this year’s International Association of Chiefs of Police (IACP) Technology Conference focused on automating routine parts of the job, which also happen to be critical steps in the legal process. It’s a similar sales pitch to the one that’s been exhaustively broadcast to businesses in recent years: Let the machines handle the busywork, so you can focus on more meaningful tasks. But in law enforcement, the automation of seemingly innocuous “busywork” — like taking the time to carefully fill out a police report or review a suspect’s case history — can have immense consequences on people’s lives.

Among the AI products on offer at the conference’s showroom this May were facial-recognition cameras, automated license plate readers, body cameras, chatbots to field non-emergency 911 calls, gunshot detection platforms, drones, and report-writing tools. As the country has reckoned with law enforcement becoming detached from actual, human police presence in neighborhoods, the industry is continuing to embrace automation.

Fort Worth Convention Center, 2018.

Fort Worth Convention Center, 2018.
Photo: Felix Mizioznikov / Shutterstock

The decision-making process itself in police departments is increasingly being handed over to algorithms. A legion of tech startups are now selling AI to police as a kind of automated air traffic control system, a centralized digital brain that can process the vast quantities of data now being collected — oftentimes by other surveillance and automation tools sold by those very same companies — and help departments delegate resources accordingly. Even police aren’t necessarily thrilled about these pitches.

“A lot of it is sales gimmicks that don’t actually deliver on what the promise is,” Abrem Ayana, a police captain in Brookhaven, Georgia, told me. In the absence of comprehensive federal oversight or industry standards — and due to the novelty of the tech itself — law enforcement officials like Ayana often have no choice but to take companies’ word that their products are safe and that they work as advertised.

Police departments have used technology for decades to analyze data and, in theory, make more informed decisions in the field. In some notorious cases, it’s completely backfired. CompStat and PredPol (short for “computer comparison statistics” and “predictive policing,” respectively), for example, were two early experiments that sought to mitigate fallible human judgement through the use of supposedly unbiased statistics. Instead, they ended up exacerbating the very problems they were meant to solve. But while those early experiments failed to usher in a new era of unbiased policing as their proponents had hoped, human beings were at least still at the helm, making the most important decisions.

The sales pitch behind this new wave of AI products is that the mistakes of the past were enabled by a lack of objective, real-time data. AI can, in theory, now help to bridge the gap by ramping up the amount of public safety data that’s collected and the level of analysis to which it’s subjected. Many public safety advocacy groups and legal experts, however, warn that an influx of black box algorithms into law enforcement will erode transparency and accountability at a time when much of the public’s trust of the police is already dangerously frayed.

Jason Truppi, a former FBI special agent specializing in cybercrime, told me that police are drowning in a sea of data. Truppi, wearing a pair of Meta Ray-Ban Smart Glasses, spoke quickly and excitedly in sentences peppered with corporate buzzphrases. In late 2020, he cofounded ForceMetrics, a software company offering an “AI-powered decision-assist platform, enabling public safety agencies to increase operational efficiency and better serve their communities in real time,” as described by its LinkedIn page.

All of the record-keeping systems that police departments have been using for the past two decades, from emergency call logs to parole record files to body camera footage databases, have, according to Truppi, created a burdensome information overload. “All the systems of record [used by police departments] are essentially antiquated,” he told me.

“We don’t use the ‘p word’ at all, because it failed.”

ForceMetrics offers police departments a platform called Velocity, which “uses AI to turn overwhelming amounts of public safety data into clear, actionable insights,” according to the company’s website. In police-tech industry-speak, Velocity is what’s known as a real-time crime center, or RTCC. First adopted by the New York City Police Department over 20 years ago, RTCCs are designed to aggregate police data coming in from multiple streams — like 911 dispatch, CCTV cameras, and license-plate scanners — to provide officers with a summary of what to expect when they arrive on a scene. The theory is that the more real-time data you can give officers, the less likely they’ll be to go in “guts and guns,” as Truppi puts it. It’s a cheeky euphemism for when things go bad and people get killed.

In the past, RTCCs were overseen by human analysts whose job was to collect all the incoming digital data, organize it, and send it to the officers on patrol. But as Truppi suggests, the proliferation of new data-collection technologies within policing over the years has made it effectively impossible for any department to stay afloat in the deluge of information. By 2019, the NYPD was collecting around two years’ worth of body camera footage every week, according to the transcript of a 2019 Committee on Public Safety hearing — too much for even the most diligent human employee to meaningfully analyze.

Modern RTCCs like Velocity are designed to quickly extract patterns from oceans of data with the goal of improving situational awareness for cops. According to Truppi, the “unfortunate events” that have so disastrously damaged Americans’ trust in police departments in recent years, especially during the pandemic, can largely be attributed to a lack of what he calls “a data-driven approach” to policing.

Nina Loshkajian, a fellow at the New York University Center on Race, Inequality, and the Law, is wary of this claim. “The reality is that police departments had already been using predictive algorithms, which companies touted as data-driven, for years before calls to defund the police revved up in 2020,” she told me. “These algorithmic systems did not prevent violent encounters between police and civilians then, and we shouldn’t be tricked into thinking they’ll make a meaningful difference in the future.”

Truppi’s company is competing with two of the biggest players in the modern police-technology industrial complex: Motorola Solutions and Axon Enterprise, both of which make not only their own RTCCs, but also many of the data-collection and surveillance technologies they rely on.

In early 2024, Axon — originally called TASER — acquired surveillance technology company Fusus to launch a RTCC, which was officially branded as Axon Fusus. By that time, Axon was already a well-known purveyor of stun guns, body-worn cameras, and automated license plate readers. The company also offers a popular AI-powered report-writing tool called Draft One, drones for police departments through a program called Axon Air, and even its own AI chatbot.

Glitchy looping video of a pair of handcuffs swinging.

Axon and Motorola are part of a very small group of companies competing to effectively monopolize the entire modern police technology stack, from the collection of data at crime scenes to the strategic decision-making capabilities of AI-powered RTCCs. Police departments today often sign onto multiyear contracts with these providers, who in turn offer free trial periods for new tech, along with what are known as sole-source procurement agreements, which enable them to continue selling new products to departments without having to bid against competing offers from other vendors.

“We’re seeing a gold rush into selling [AI] technology to police with the promise that it will all make their jobs easier and more efficient.”

In late 2024, Axon launched its AI Era Plan, a subscription that allows customers to pay a flat annual fee to gain access both to the company’s current AI tools, like Draft One, as well as others it might launch in the future. AI Era Plan subscriptions skyrocketed by 140 percent between the first quarter of last year and the same time this year, according to the transcript of a company earnings call with investors: “we are seeing AI move from early interest to a standard part of how large agencies think about their future technology stack,” Axon President Joshua Isner said in that call. “We are determined to become the AI company in public safety, and we are well on our way.” According to the transcript, Axon’s AI product revenue grew 700 percent year over year.

While bigger companies like Axon, Motorola, and Flock Safety currently dominate the police technology-industrial complex, it’s facing growing competition from the army of newer tech startups that were exhibiting at the IACP tech conference in Texas. “The entire game of all of these companies is to become the platform for policing,” says Andrew Guthrie Ferguson, a professor at Georgetown University Law School and the author of multiple books on the intersection of policing and technology. “We’re seeing a gold rush into selling [AI] technology to police with the promise that it will all make their jobs easier and more efficient.”

That gold rush has also attracted an influx of outside investors: About one-quarter of attendees on the showroom floor at the conference were from “equity firms looking to invest in the latest tech,” according to Amber Schroader, a tech entrepreneur whom I spoke with in Fort Worth during the event. “That was a surprise.”

The sales pitch has been working.

Draft One and other AI-powered report-writing tools, for example, have significant appeal at a time when the average police officer spends 40 percent of a typical shift writing reports, according to a 2024 study conducted by Axon. Many of those are for mundane incidents like traffic stops and noise complaints. “We didn’t sign up to sit behind a keyboard,” said John Mackey, a patrol sergeant with Colorado’s Avon Police Department, which uses Field Notes, an AI-powered report-writing tool made by a company called Truleo. “That wasn’t why I became a police officer.”

Draft One comes with design features intended to force a degree of human oversight. The system will intentionally leave certain details blank, for example, forcing officers to go in and fill them in manually. The platform is built upon a modified version of ChatGPT trained specifically to generate police reports and that, according to the company, is hallucination-free: “The creativity is turned down to zero,” Noah Spitzer-Williams, senior principal product manager at Axon’s generative AI division, has said. That claim should be taken with a very large grain of salt, however, since even frontier labs like OpenAI (the company behind ChatGPT), Anthropic, and Google have not yet figured out how to completely eradicate hallucination from even their most advanced models. And indeed, in one infamous incident from earlier this year, Draft One wrote that an officer in Utah had morphed into a frog, after having picked up audio from the Disney movie The Princess and the Frog, which had reportedly been playing in the background at the scene.

It’s easy to laugh at that incident, but real-world outcomes from AI-written police reports could be deadly serious. When a human officer writes a report, they can be cross-examined in a courtroom to figure out important details like their state of mind at the time, or why they included certain details and omitted others. By definition, it’s impossible to subject black box algorithms to the same level of scrutiny.

Axon and Motorola are part of a very small group of companies competing to effectively monopolize the entire modern police technology stack, from the collection of data at crime scenes to the strategic decision-making capabilities of AI-powered RTCCs.

In the case of Draft One, it was also originally impossible to determine which parts of a report were generated by the AI and which by the human officer once the report has been submitted — save the officer’s own memory. That was a feature, not a bug. In a recorded roundtable discussion published online shortly after Draft One was launched in 2024, Spitzer-Williams said the platform “by design” doesn’t save an original copy of a report after it’s been submitted, “because [the] last thing we want to do is create more disclosure headaches for our customers and our attorney’s offices… it’s actually never stored in the cloud at all so you don’t have to worry about extra copies, you know, floating around.” In other words, if a report generated by Draft One ended up in court and was found to contain erroneous details, there was no way for attorneys or judges to know for certain if those were input by the officer or by AI.

Draft One was updated in December to allow police departments “to retain and access the original, unedited AI-generated narrative,” according to Axon spokesperson Victoria Keough. The change was implemented “as [law enforcement] agencies, prosecutors, policymakers, and legislatures have established clearer expectations and requirements for AI-assisted report writing.”

Brandon Garrett, a professor at the Duke University School of Law who has studied the implications of AI systems for due process, is apprehensive of the technology. “The idea that you’d be making up data — which is what generative models do — to be used in court, is really, really troubling,” he says. “We would never tell a police officer, ‘Just be creative and come up with a story about what you saw at the crime scene.’ Of course not: They’re supposed to objectively record as best as they can and document what they saw at the crime scene. But generative models are designed to create.”

In the wake of the 2008 financial crisis, LA police chief Charlie Beck took inspiration from Wal-Mart and Amazon’s personalized shopping algorithms and wrote that police departments should use similar tools to predict crime. Starting in the 2010s, “predictive policing” programs were widely implemented in cities across the country. But far from creating a new era of fairness and justice in policing, the algorithms in many cases had exactly the opposite effect: Since the models had been trained to detect patterns from historic crime data, the biases hidden within that training data were perpetuated — under the guise of mathematical objectivity.

PredPol, for example, was based on an algorithm originally used to predict the geographical distributions of earthquake aftershocks, the idea being that the same general principle could be applied to predicting crime: the tighter the correlation between a certain area and a particular criminal pattern, so the thinking went, the higher the likelihood that same pattern will continue into the future. This allowed the AI to identify crime hotspots, which personnel-strapped police departments could focus more attention on.

But PredPol and similar programs failed to account for some key facts. For example, more crimes tend to be reported in poorer neighborhoods, which in many major cities are populated primarily by people of color, leading to a higher police presence and arrest rate than those found in other areas. The algorithm had no way of understanding that the fact that there was a higher crime rate in one neighborhood, say, than there was in another, more affluent area was largely the product of a complex history of social, political, and racial biases and policies; it just ingested the data it had been given, leading to a more intensive focus on historically over-policed areas: a self-perpetuating cycle.

This was clearly illustrated in 2016, when AI researchers Kristian Lum and William Isaac tested a predictive policing algorithm using historic drug crime data from the Oakland Police Department. The algorithm recommended dispatching police “almost exclusively to lower income, minority neighborhoods,” Lum wrote in a follow-up article, even though public health data at the time showed that illegal drug use was widely distributed across the city.

The same pattern emerged wherever predictive policing programs were implemented. “The use of predictive policing systems can make the future look a lot like the past,” Ángel Díaz, an associate professor at Loyola Law School, told me. “Because a lot of the data you’re pulling is from the world as understood by biased policing practices, the patterns that exist in that data will be drawn out by the computer and might help inform future policing practices.” In 2024, four democratic US senators urged the Department of Justice to halt all future grants to law enforcement agencies for predictive policing programs, citing evidence that such programs “are prone to over-predicting crime rates in Black and Latino neighborhoods while under-predicting crime in white neighborhoods.”

Predictive policing has therefore become taboo in the modern police-tech industrial complex, a cautionary tale about conflating statistics with objectivity. (PredPol changed its brand name to Geolitica in March of 2021). “We don’t use the ‘p word’ at all,” Truppi told me, “because it failed.”

Experts say a future of policing based on increasingly fine-grained personal data collection and AI-driven policing is frightening. As the decision-making power of AI within policing grows, so too will the inscrutability of the justice system itself, according to Díaz, the Loyola Law professor. “The biggest thing that worries me is that we are rapidly expanding how much data is being collected about all of us,” he told me. “The reality is that the more data you have about any given person, the easier it is to reverse engineer a reason to target them; the more data you have about each individual, the easier it is to transform them into the subject of an investigation.”

Facing budget cuts and staffing shortages, and accosted by sales pitches in every direction, police departments are now facing the same kind of pressure as private companies to adopt new AI tools — which, they’re promised, are free of the foibles found in earlier programs like PredPol and CompStat. And as Brookhaven’s Captain Ayana mentioned, all of this is happening inside a regulatory vacuum, with law enforcement leaders left to their own discretion to separate the gimmicks from the legitimately safe and useful tools.

“The use of predictive policing systems can make the future look a lot like the past.”

According to Katie Kinsey, chief of staff and tech policy council at the Policing Project, a nonprofit organization focused on promoting accountability within law enforcement, the challenge facing police departments now is ensuring that the data that’s fed into this advanced new generation of RTCCs is reliable—i.e., free from the biases that infected the training data of earlier tools. “We absolutely do want police practice to be informed by data and to be evidence-based,” Kinsey told me. “But data is not perfect, and not all data is created equal…Understanding the data sources and limitations that police are working with are especially crucial in our AI age where data increasingly is the currency of decision-making.”

Such transparency is made much more difficult when the data is controlled by private vendors, such as Axon, whose business models rely on maintaining the secrecy of their proprietary AI tools. And if there’s one lesson that can be drawn from the broader AI race, it’s that the race to dominate market share often comes at the expense of safety. For the moment though, in lieu of any broad governance, police departments are left to their own devices to choose from a growing roster of tech vendors. The decisions they make today will impact how decisions are made within their departments tomorrow.

When I asked Stephen Redfearn, the chief of Colorado’s Boulder Police Department, about the future of AI within law enforcement, he told me: “It’s going to continue to be kind of a roller coaster for a while, while people get more comfortable with it.”

This reporting was supported by a grant from the Tarbell Center for AI Journalism.

Follow topics and authors from this story to see more like this in your personalized homepage feed and to receive email updates.
#COMPUTER #COPS #big #business #selling #policeAI,Tech"> COMPUTER COPS: Inside the big business of selling AI to the policeI stood before a hulking glass and brick structure in the heart of Fort Worth, Texas. Thousands gathered inside to see what had been billed as “the future of policing in the digital age.” As press, I was prohibited from entering, but from a number of nearby locations, I met with attendees who told me what was being sold within. And I learned that AI is threatening to seize the very heart of policing in America.The promise of AI at this year’s International Association of Chiefs of Police (IACP) Technology Conference focused on automating routine parts of the job, which also happen to be critical steps in the legal process. It’s a similar sales pitch to the one that’s been exhaustively broadcast to businesses in recent years: Let the machines handle the busywork, so you can focus on more meaningful tasks. But in law enforcement, the automation of seemingly innocuous “busywork” — like taking the time to carefully fill out a police report or review a suspect’s case history — can have immense consequences on people’s lives.Among the AI products on offer at the conference’s showroom this May were facial-recognition cameras, automated license plate readers, body cameras, chatbots to field non-emergency 911 calls, gunshot detection platforms, drones, and report-writing tools. As the country has reckoned with law enforcement becoming detached from actual, human police presence in neighborhoods, the industry is continuing to embrace automation.Fort Worth Convention Center, 2018. Photo: Felix Mizioznikov / ShutterstockThe decision-making process itself in police departments is increasingly being handed over to algorithms. A legion of tech startups are now selling AI to police as a kind of automated air traffic control system, a centralized digital brain that can process the vast quantities of data now being collected — oftentimes by other surveillance and automation tools sold by those very same companies — and help departments delegate resources accordingly. Even police aren’t necessarily thrilled about these pitches.“A lot of it is sales gimmicks that don’t actually deliver on what the promise is,” Abrem Ayana, a police captain in Brookhaven, Georgia, told me. In the absence of comprehensive federal oversight or industry standards — and due to the novelty of the tech itself — law enforcement officials like Ayana often have no choice but to take companies’ word that their products are safe and that they work as advertised.Police departments have used technology for decades to analyze data and, in theory, make more informed decisions in the field. In some notorious cases, it’s completely backfired. CompStat and PredPol (short for “computer comparison statistics” and “predictive policing,” respectively), for example, were two early experiments that sought to mitigate fallible human judgement through the use of supposedly unbiased statistics. Instead, they ended up exacerbating the very problems they were meant to solve. But while those early experiments failed to usher in a new era of unbiased policing as their proponents had hoped, human beings were at least still at the helm, making the most important decisions.The sales pitch behind this new wave of AI products is that the mistakes of the past were enabled by a lack of objective, real-time data. AI can, in theory, now help to bridge the gap by ramping up the amount of public safety data that’s collected and the level of analysis to which it’s subjected. Many public safety advocacy groups and legal experts, however, warn that an influx of black box algorithms into law enforcement will erode transparency and accountability at a time when much of the public’s trust of the police is already dangerously frayed.Jason Truppi, a former FBI special agent specializing in cybercrime, told me that police are drowning in a sea of data. Truppi, wearing a pair of Meta Ray-Ban Smart Glasses, spoke quickly and excitedly in sentences peppered with corporate buzzphrases. In late 2020, he cofounded ForceMetrics, a software company offering an “AI-powered decision-assist platform, enabling public safety agencies to increase operational efficiency and better serve their communities in real time,” as described by its LinkedIn page.All of the record-keeping systems that police departments have been using for the past two decades, from emergency call logs to parole record files to body camera footage databases, have, according to Truppi, created a burdensome information overload. “All the systems of record [used by police departments] are essentially antiquated,” he told me.“We don’t use the ‘p word’ at all, because it failed.”ForceMetrics offers police departments a platform called Velocity, which “uses AI to turn overwhelming amounts of public safety data into clear, actionable insights,” according to the company’s website. In police-tech industry-speak, Velocity is what’s known as a real-time crime center, or RTCC. First adopted by the New York City Police Department over 20 years ago, RTCCs are designed to aggregate police data coming in from multiple streams — like 911 dispatch, CCTV cameras, and license-plate scanners — to provide officers with a summary of what to expect when they arrive on a scene. The theory is that the more real-time data you can give officers, the less likely they’ll be to go in “guts and guns,” as Truppi puts it. It’s a cheeky euphemism for when things go bad and people get killed.In the past, RTCCs were overseen by human analysts whose job was to collect all the incoming digital data, organize it, and send it to the officers on patrol. But as Truppi suggests, the proliferation of new data-collection technologies within policing over the years has made it effectively impossible for any department to stay afloat in the deluge of information. By 2019, the NYPD was collecting around two years’ worth of body camera footage every week, according to the transcript of a 2019 Committee on Public Safety hearing — too much for even the most diligent human employee to meaningfully analyze.Modern RTCCs like Velocity are designed to quickly extract patterns from oceans of data with the goal of improving situational awareness for cops. According to Truppi, the “unfortunate events” that have so disastrously damaged Americans’ trust in police departments in recent years, especially during the pandemic, can largely be attributed to a lack of what he calls “a data-driven approach” to policing.Nina Loshkajian, a fellow at the New York University Center on Race, Inequality, and the Law, is wary of this claim. “The reality is that police departments had already been using predictive algorithms, which companies touted as data-driven, for years before calls to defund the police revved up in 2020,” she told me. “These algorithmic systems did not prevent violent encounters between police and civilians then, and we shouldn’t be tricked into thinking they’ll make a meaningful difference in the future.”Truppi’s company is competing with two of the biggest players in the modern police-technology industrial complex: Motorola Solutions and Axon Enterprise, both of which make not only their own RTCCs, but also many of the data-collection and surveillance technologies they rely on.In early 2024, Axon — originally called TASER — acquired surveillance technology company Fusus to launch a RTCC, which was officially branded as Axon Fusus. By that time, Axon was already a well-known purveyor of stun guns, body-worn cameras, and automated license plate readers. The company also offers a popular AI-powered report-writing tool called Draft One, drones for police departments through a program called Axon Air, and even its own AI chatbot.Axon and Motorola are part of a very small group of companies competing to effectively monopolize the entire modern police technology stack, from the collection of data at crime scenes to the strategic decision-making capabilities of AI-powered RTCCs. Police departments today often sign onto multiyear contracts with these providers, who in turn offer free trial periods for new tech, along with what are known as sole-source procurement agreements, which enable them to continue selling new products to departments without having to bid against competing offers from other vendors.“We’re seeing a gold rush into selling [AI] technology to police with the promise that it will all make their jobs easier and more efficient.”In late 2024, Axon launched its AI Era Plan, a subscription that allows customers to pay a flat annual fee to gain access both to the company’s current AI tools, like Draft One, as well as others it might launch in the future. AI Era Plan subscriptions skyrocketed by 140 percent between the first quarter of last year and the same time this year, according to the transcript of a company earnings call with investors: “we are seeing AI move from early interest to a standard part of how large agencies think about their future technology stack,” Axon President Joshua Isner said in that call. “We are determined to become the AI company in public safety, and we are well on our way.” According to the transcript, Axon’s AI product revenue grew 700 percent year over year.While bigger companies like Axon, Motorola, and Flock Safety currently dominate the police technology-industrial complex, it’s facing growing competition from the army of newer tech startups that were exhibiting at the IACP tech conference in Texas. “The entire game of all of these companies is to become the platform for policing,” says Andrew Guthrie Ferguson, a professor at Georgetown University Law School and the author of multiple books on the intersection of policing and technology. “We’re seeing a gold rush into selling [AI] technology to police with the promise that it will all make their jobs easier and more efficient.”That gold rush has also attracted an influx of outside investors: About one-quarter of attendees on the showroom floor at the conference were from “equity firms looking to invest in the latest tech,” according to Amber Schroader, a tech entrepreneur whom I spoke with in Fort Worth during the event. “That was a surprise.”The sales pitch has been working.Draft One and other AI-powered report-writing tools, for example, have significant appeal at a time when the average police officer spends 40 percent of a typical shift writing reports, according to a 2024 study conducted by Axon. Many of those are for mundane incidents like traffic stops and noise complaints. “We didn’t sign up to sit behind a keyboard,” said John Mackey, a patrol sergeant with Colorado’s Avon Police Department, which uses Field Notes, an AI-powered report-writing tool made by a company called Truleo. “That wasn’t why I became a police officer.”Draft One comes with design features intended to force a degree of human oversight. The system will intentionally leave certain details blank, for example, forcing officers to go in and fill them in manually. The platform is built upon a modified version of ChatGPT trained specifically to generate police reports and that, according to the company, is hallucination-free: “The creativity is turned down to zero,” Noah Spitzer-Williams, senior principal product manager at Axon’s generative AI division, has said. That claim should be taken with a very large grain of salt, however, since even frontier labs like OpenAI (the company behind ChatGPT), Anthropic, and Google have not yet figured out how to completely eradicate hallucination from even their most advanced models. And indeed, in one infamous incident from earlier this year, Draft One wrote that an officer in Utah had morphed into a frog, after having picked up audio from the Disney movie The Princess and the Frog, which had reportedly been playing in the background at the scene.It’s easy to laugh at that incident, but real-world outcomes from AI-written police reports could be deadly serious. When a human officer writes a report, they can be cross-examined in a courtroom to figure out important details like their state of mind at the time, or why they included certain details and omitted others. By definition, it’s impossible to subject black box algorithms to the same level of scrutiny.Axon and Motorola are part of a very small group of companies competing to effectively monopolize the entire modern police technology stack, from the collection of data at crime scenes to the strategic decision-making capabilities of AI-powered RTCCs.In the case of Draft One, it was also originally impossible to determine which parts of a report were generated by the AI and which by the human officer once the report has been submitted — save the officer’s own memory. That was a feature, not a bug. In a recorded roundtable discussion published online shortly after Draft One was launched in 2024, Spitzer-Williams said the platform “by design” doesn’t save an original copy of a report after it’s been submitted, “because [the] last thing we want to do is create more disclosure headaches for our customers and our attorney’s offices… it’s actually never stored in the cloud at all so you don’t have to worry about extra copies, you know, floating around.” In other words, if a report generated by Draft One ended up in court and was found to contain erroneous details, there was no way for attorneys or judges to know for certain if those were input by the officer or by AI.Draft One was updated in December to allow police departments “to retain and access the original, unedited AI-generated narrative,” according to Axon spokesperson Victoria Keough. The change was implemented “as [law enforcement] agencies, prosecutors, policymakers, and legislatures have established clearer expectations and requirements for AI-assisted report writing.”Brandon Garrett, a professor at the Duke University School of Law who has studied the implications of AI systems for due process, is apprehensive of the technology. “The idea that you’d be making up data — which is what generative models do — to be used in court, is really, really troubling,” he says. “We would never tell a police officer, ‘Just be creative and come up with a story about what you saw at the crime scene.’ Of course not: They’re supposed to objectively record as best as they can and document what they saw at the crime scene. But generative models are designed to create.”In the wake of the 2008 financial crisis, LA police chief Charlie Beck took inspiration from Wal-Mart and Amazon’s personalized shopping algorithms and wrote that police departments should use similar tools to predict crime. Starting in the 2010s, “predictive policing” programs were widely implemented in cities across the country. But far from creating a new era of fairness and justice in policing, the algorithms in many cases had exactly the opposite effect: Since the models had been trained to detect patterns from historic crime data, the biases hidden within that training data were perpetuated — under the guise of mathematical objectivity.PredPol, for example, was based on an algorithm originally used to predict the geographical distributions of earthquake aftershocks, the idea being that the same general principle could be applied to predicting crime: the tighter the correlation between a certain area and a particular criminal pattern, so the thinking went, the higher the likelihood that same pattern will continue into the future. This allowed the AI to identify crime hotspots, which personnel-strapped police departments could focus more attention on.But PredPol and similar programs failed to account for some key facts. For example, more crimes tend to be reported in poorer neighborhoods, which in many major cities are populated primarily by people of color, leading to a higher police presence and arrest rate than those found in other areas. The algorithm had no way of understanding that the fact that there was a higher crime rate in one neighborhood, say, than there was in another, more affluent area was largely the product of a complex history of social, political, and racial biases and policies; it just ingested the data it had been given, leading to a more intensive focus on historically over-policed areas: a self-perpetuating cycle.This was clearly illustrated in 2016, when AI researchers Kristian Lum and William Isaac tested a predictive policing algorithm using historic drug crime data from the Oakland Police Department. The algorithm recommended dispatching police “almost exclusively to lower income, minority neighborhoods,” Lum wrote in a follow-up article, even though public health data at the time showed that illegal drug use was widely distributed across the city.The same pattern emerged wherever predictive policing programs were implemented. “The use of predictive policing systems can make the future look a lot like the past,” Ángel Díaz, an associate professor at Loyola Law School, told me. “Because a lot of the data you’re pulling is from the world as understood by biased policing practices, the patterns that exist in that data will be drawn out by the computer and might help inform future policing practices.” In 2024, four democratic US senators urged the Department of Justice to halt all future grants to law enforcement agencies for predictive policing programs, citing evidence that such programs “are prone to over-predicting crime rates in Black and Latino neighborhoods while under-predicting crime in white neighborhoods.”Predictive policing has therefore become taboo in the modern police-tech industrial complex, a cautionary tale about conflating statistics with objectivity. (PredPol changed its brand name to Geolitica in March of 2021). “We don’t use the ‘p word’ at all,” Truppi told me, “because it failed.”Experts say a future of policing based on increasingly fine-grained personal data collection and AI-driven policing is frightening. As the decision-making power of AI within policing grows, so too will the inscrutability of the justice system itself, according to Díaz, the Loyola Law professor. “The biggest thing that worries me is that we are rapidly expanding how much data is being collected about all of us,” he told me. “The reality is that the more data you have about any given person, the easier it is to reverse engineer a reason to target them; the more data you have about each individual, the easier it is to transform them into the subject of an investigation.”Facing budget cuts and staffing shortages, and accosted by sales pitches in every direction, police departments are now facing the same kind of pressure as private companies to adopt new AI tools — which, they’re promised, are free of the foibles found in earlier programs like PredPol and CompStat. And as Brookhaven’s Captain Ayana mentioned, all of this is happening inside a regulatory vacuum, with law enforcement leaders left to their own discretion to separate the gimmicks from the legitimately safe and useful tools.“The use of predictive policing systems can make the future look a lot like the past.”According to Katie Kinsey, chief of staff and tech policy council at the Policing Project, a nonprofit organization focused on promoting accountability within law enforcement, the challenge facing police departments now is ensuring that the data that’s fed into this advanced new generation of RTCCs is reliable—i.e., free from the biases that infected the training data of earlier tools. “We absolutely do want police practice to be informed by data and to be evidence-based,” Kinsey told me. “But data is not perfect, and not all data is created equal…Understanding the data sources and limitations that police are working with are especially crucial in our AI age where data increasingly is the currency of decision-making.”Such transparency is made much more difficult when the data is controlled by private vendors, such as Axon, whose business models rely on maintaining the secrecy of their proprietary AI tools. And if there’s one lesson that can be drawn from the broader AI race, it’s that the race to dominate market share often comes at the expense of safety. For the moment though, in lieu of any broad governance, police departments are left to their own devices to choose from a growing roster of tech vendors. The decisions they make today will impact how decisions are made within their departments tomorrow.When I asked Stephen Redfearn, the chief of Colorado’s Boulder Police Department, about the future of AI within law enforcement, he told me: “It’s going to continue to be kind of a roller coaster for a while, while people get more comfortable with it.”This reporting was supported by a grant from the Tarbell Center for AI Journalism.Follow topics and authors from this story to see more like this in your personalized homepage feed and to receive email updates.Webb WrightCloseWebb WrightPosts from this author will be added to your daily email digest and your homepage feed.FollowFollowSee All by Webb WrightAICloseAIPosts from this topic will be added to your daily email digest and your homepage feed.FollowFollowSee All AITechCloseTechPosts from this topic will be added to your daily email digest and your homepage feed.FollowFollowSee All Tech#COMPUTER #COPS #big #business #selling #policeAI,Tech
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billed as “the future of policing in the digital age.” As press, I was prohibited from entering, but from a number of nearby locations, I met with attendees who told me what was being sold within. And I learned that AI is threatening to seize the very heart of policing in America.

The promise of AI at this year’s International Association of Chiefs of Police (IACP) Technology Conference focused on automating routine parts of the job, which also happen to be critical steps in the legal process. It’s a similar sales pitch to the one that’s been exhaustively broadcast to businesses in recent years: Let the machines handle the busywork, so you can focus on more meaningful tasks. But in law enforcement, the automation of seemingly innocuous “busywork” — like taking the time to carefully fill out a police report or review a suspect’s case history — can have immense consequences on people’s lives.

Among the AI products on offer at the conference’s showroom this May were facial-recognition cameras, automated license plate readers, body cameras, chatbots to field non-emergency 911 calls, gunshot detection platforms, drones, and report-writing tools. As the country has reckoned with law enforcement becoming detached from actual, human police presence in neighborhoods, the industry is continuing to embrace automation.

Fort Worth Convention Center, 2018.

Fort Worth Convention Center, 2018.
Photo: Felix Mizioznikov / Shutterstock

The decision-making process itself in police departments is increasingly being handed over to algorithms. A legion of tech startups are now selling AI to police as a kind of automated air traffic control system, a centralized digital brain that can process the vast quantities of data now being collected — oftentimes by other surveillance and automation tools sold by those very same companies — and help departments delegate resources accordingly. Even police aren’t necessarily thrilled about these pitches.

“A lot of it is sales gimmicks that don’t actually deliver on what the promise is,” Abrem Ayana, a police captain in Brookhaven, Georgia, told me. In the absence of comprehensive federal oversight or industry standards — and due to the novelty of the tech itself — law enforcement officials like Ayana often have no choice but to take companies’ word that their products are safe and that they work as advertised.

Police departments have used technology for decades to analyze data and, in theory, make more informed decisions in the field. In some notorious cases, it’s completely backfired. CompStat and PredPol (short for “computer comparison statistics” and “predictive policing,” respectively), for example, were two early experiments that sought to mitigate fallible human judgement through the use of supposedly unbiased statistics. Instead, they ended up exacerbating the very problems they were meant to solve. But while those early experiments failed to usher in a new era of unbiased policing as their proponents had hoped, human beings were at least still at the helm, making the most important decisions.

The sales pitch behind this new wave of AI products is that the mistakes of the past were enabled by a lack of objective, real-time data. AI can, in theory, now help to bridge the gap by ramping up the amount of public safety data that’s collected and the level of analysis to which it’s subjected. Many public safety advocacy groups and legal experts, however, warn that an influx of black box algorithms into law enforcement will erode transparency and accountability at a time when much of the public’s trust of the police is already dangerously frayed.

Jason Truppi, a former FBI special agent specializing in cybercrime, told me that police are drowning in a sea of data. Truppi, wearing a pair of Meta Ray-Ban Smart Glasses, spoke quickly and excitedly in sentences peppered with corporate buzzphrases. In late 2020, he cofounded ForceMetrics, a software company offering an “AI-powered decision-assist platform, enabling public safety agencies to increase operational efficiency and better serve their communities in real time,” as described by its LinkedIn page.

All of the record-keeping systems that police departments have been using for the past two decades, from emergency call logs to parole record files to body camera footage databases, have, according to Truppi, created a burdensome information overload. “All the systems of record [used by police departments] are essentially antiquated,” he told me.

“We don’t use the ‘p word’ at all, because it failed.”

ForceMetrics offers police departments a platform called Velocity, which “uses AI to turn overwhelming amounts of public safety data into clear, actionable insights,” according to the company’s website. In police-tech industry-speak, Velocity is what’s known as a real-time crime center, or RTCC. First adopted by the New York City Police Department over 20 years ago, RTCCs are designed to aggregate police data coming in from multiple streams — like 911 dispatch, CCTV cameras, and license-plate scanners — to provide officers with a summary of what to expect when they arrive on a scene. The theory is that the more real-time data you can give officers, the less likely they’ll be to go in “guts and guns,” as Truppi puts it. It’s a cheeky euphemism for when things go bad and people get killed.

In the past, RTCCs were overseen by human analysts whose job was to collect all the incoming digital data, organize it, and send it to the officers on patrol. But as Truppi suggests, the proliferation of new data-collection technologies within policing over the years has made it effectively impossible for any department to stay afloat in the deluge of information. By 2019, the NYPD was collecting around two years’ worth of body camera footage every week, according to the transcript of a 2019 Committee on Public Safety hearing — too much for even the most diligent human employee to meaningfully analyze.

Modern RTCCs like Velocity are designed to quickly extract patterns from oceans of data with the goal of improving situational awareness for cops. According to Truppi, the “unfortunate events” that have so disastrously damaged Americans’ trust in police departments in recent years, especially during the pandemic, can largely be attributed to a lack of what he calls “a data-driven approach” to policing.

Nina Loshkajian, a fellow at the New York University Center on Race, Inequality, and the Law, is wary of this claim. “The reality is that police departments had already been using predictive algorithms, which companies touted as data-driven, for years before calls to defund the police revved up in 2020,” she told me. “These algorithmic systems did not prevent violent encounters between police and civilians then, and we shouldn’t be tricked into thinking they’ll make a meaningful difference in the future.”

Truppi’s company is competing with two of the biggest players in the modern police-technology industrial complex: Motorola Solutions and Axon Enterprise, both of which make not only their own RTCCs, but also many of the data-collection and surveillance technologies they rely on.

In early 2024, Axon — originally called TASER — acquired surveillance technology company Fusus to launch a RTCC, which was officially branded as Axon Fusus. By that time, Axon was already a well-known purveyor of stun guns, body-worn cameras, and automated license plate readers. The company also offers a popular AI-powered report-writing tool called Draft One, drones for police departments through a program called Axon Air, and even its own AI chatbot.

Glitchy looping video of a pair of handcuffs swinging.

Axon and Motorola are part of a very small group of companies competing to effectively monopolize the entire modern police technology stack, from the collection of data at crime scenes to the strategic decision-making capabilities of AI-powered RTCCs. Police departments today often sign onto multiyear contracts with these providers, who in turn offer free trial periods for new tech, along with what are known as sole-source procurement agreements, which enable them to continue selling new products to departments without having to bid against competing offers from other vendors.

“We’re seeing a gold rush into selling [AI] technology to police with the promise that it will all make their jobs easier and more efficient.”

In late 2024, Axon launched its AI Era Plan, a subscription that allows customers to pay a flat annual fee to gain access both to the company’s current AI tools, like Draft One, as well as others it might launch in the future. AI Era Plan subscriptions skyrocketed by 140 percent between the first quarter of last year and the same time this year, according to the transcript of a company earnings call with investors: “we are seeing AI move from early interest to a standard part of how large agencies think about their future technology stack,” Axon President Joshua Isner said in that call. “We are determined to become the AI company in public safety, and we are well on our way.” According to the transcript, Axon’s AI product revenue grew 700 percent year over year.

While bigger companies like Axon, Motorola, and Flock Safety currently dominate the police technology-industrial complex, it’s facing growing competition from the army of newer tech startups that were exhibiting at the IACP tech conference in Texas. “The entire game of all of these companies is to become the platform for policing,” says Andrew Guthrie Ferguson, a professor at Georgetown University Law School and the author of multiple books on the intersection of policing and technology. “We’re seeing a gold rush into selling [AI] technology to police with the promise that it will all make their jobs easier and more efficient.”

That gold rush has also attracted an influx of outside investors: About one-quarter of attendees on the showroom floor at the conference were from “equity firms looking to invest in the latest tech,” according to Amber Schroader, a tech entrepreneur whom I spoke with in Fort Worth during the event. “That was a surprise.”

The sales pitch has been working.

Draft One and other AI-powered report-writing tools, for example, have significant appeal at a time when the average police officer spends 40 percent of a typical shift writing reports, according to a 2024 study conducted by Axon. Many of those are for mundane incidents like traffic stops and noise complaints. “We didn’t sign up to sit behind a keyboard,” said John Mackey, a patrol sergeant with Colorado’s Avon Police Department, which uses Field Notes, an AI-powered report-writing tool made by a company called Truleo. “That wasn’t why I became a police officer.”

Draft One comes with design features intended to force a degree of human oversight. The system will intentionally leave certain details blank, for example, forcing officers to go in and fill them in manually. The platform is built upon a modified version of ChatGPT trained specifically to generate police reports and that, according to the company, is hallucination-free: “The creativity is turned down to zero,” Noah Spitzer-Williams, senior principal product manager at Axon’s generative AI division, has said. That claim should be taken with a very large grain of salt, however, since even frontier labs like OpenAI (the company behind ChatGPT), Anthropic, and Google have not yet figured out how to completely eradicate hallucination from even their most advanced models. And indeed, in one infamous incident from earlier this year, Draft One wrote that an officer in Utah had morphed into a frog, after having picked up audio from the Disney movie The Princess and the Frog, which had reportedly been playing in the background at the scene.

It’s easy to laugh at that incident, but real-world outcomes from AI-written police reports could be deadly serious. When a human officer writes a report, they can be cross-examined in a courtroom to figure out important details like their state of mind at the time, or why they included certain details and omitted others. By definition, it’s impossible to subject black box algorithms to the same level of scrutiny.

Axon and Motorola are part of a very small group of companies competing to effectively monopolize the entire modern police technology stack, from the collection of data at crime scenes to the strategic decision-making capabilities of AI-powered RTCCs.

In the case of Draft One, it was also originally impossible to determine which parts of a report were generated by the AI and which by the human officer once the report has been submitted — save the officer’s own memory. That was a feature, not a bug. In a recorded roundtable discussion published online shortly after Draft One was launched in 2024, Spitzer-Williams said the platform “by design” doesn’t save an original copy of a report after it’s been submitted, “because [the] last thing we want to do is create more disclosure headaches for our customers and our attorney’s offices… it’s actually never stored in the cloud at all so you don’t have to worry about extra copies, you know, floating around.” In other words, if a report generated by Draft One ended up in court and was found to contain erroneous details, there was no way for attorneys or judges to know for certain if those were input by the officer or by AI.

Draft One was updated in December to allow police departments “to retain and access the original, unedited AI-generated narrative,” according to Axon spokesperson Victoria Keough. The change was implemented “as [law enforcement] agencies, prosecutors, policymakers, and legislatures have established clearer expectations and requirements for AI-assisted report writing.”

Brandon Garrett, a professor at the Duke University School of Law who has studied the implications of AI systems for due process, is apprehensive of the technology. “The idea that you’d be making up data — which is what generative models do — to be used in court, is really, really troubling,” he says. “We would never tell a police officer, ‘Just be creative and come up with a story about what you saw at the crime scene.’ Of course not: They’re supposed to objectively record as best as they can and document what they saw at the crime scene. But generative models are designed to create.”

In the wake of the 2008 financial crisis, LA police chief Charlie Beck took inspiration from Wal-Mart and Amazon’s personalized shopping algorithms and wrote that police departments should use similar tools to predict crime. Starting in the 2010s, “predictive policing” programs were widely implemented in cities across the country. But far from creating a new era of fairness and justice in policing, the algorithms in many cases had exactly the opposite effect: Since the models had been trained to detect patterns from historic crime data, the biases hidden within that training data were perpetuated — under the guise of mathematical objectivity.

PredPol, for example, was based on an algorithm originally used to predict the geographical distributions of earthquake aftershocks, the idea being that the same general principle could be applied to predicting crime: the tighter the correlation between a certain area and a particular criminal pattern, so the thinking went, the higher the likelihood that same pattern will continue into the future. This allowed the AI to identify crime hotspots, which personnel-strapped police departments could focus more attention on.

But PredPol and similar programs failed to account for some key facts. For example, more crimes tend to be reported in poorer neighborhoods, which in many major cities are populated primarily by people of color, leading to a higher police presence and arrest rate than those found in other areas. The algorithm had no way of understanding that the fact that there was a higher crime rate in one neighborhood, say, than there was in another, more affluent area was largely the product of a complex history of social, political, and racial biases and policies; it just ingested the data it had been given, leading to a more intensive focus on historically over-policed areas: a self-perpetuating cycle.

This was clearly illustrated in 2016, when AI researchers Kristian Lum and William Isaac tested a predictive policing algorithm using historic drug crime data from the Oakland Police Department. The algorithm recommended dispatching police “almost exclusively to lower income, minority neighborhoods,” Lum wrote in a follow-up article, even though public health data at the time showed that illegal drug use was widely distributed across the city.

The same pattern emerged wherever predictive policing programs were implemented. “The use of predictive policing systems can make the future look a lot like the past,” Ángel Díaz, an associate professor at Loyola Law School, told me. “Because a lot of the data you’re pulling is from the world as understood by biased policing practices, the patterns that exist in that data will be drawn out by the computer and might help inform future policing practices.” In 2024, four democratic US senators urged the Department of Justice to halt all future grants to law enforcement agencies for predictive policing programs, citing evidence that such programs “are prone to over-predicting crime rates in Black and Latino neighborhoods while under-predicting crime in white neighborhoods.”

Predictive policing has therefore become taboo in the modern police-tech industrial complex, a cautionary tale about conflating statistics with objectivity. (PredPol changed its brand name to Geolitica in March of 2021). “We don’t use the ‘p word’ at all,” Truppi told me, “because it failed.”

Experts say a future of policing based on increasingly fine-grained personal data collection and AI-driven policing is frightening. As the decision-making power of AI within policing grows, so too will the inscrutability of the justice system itself, according to Díaz, the Loyola Law professor. “The biggest thing that worries me is that we are rapidly expanding how much data is being collected about all of us,” he told me. “The reality is that the more data you have about any given person, the easier it is to reverse engineer a reason to target them; the more data you have about each individual, the easier it is to transform them into the subject of an investigation.”

Facing budget cuts and staffing shortages, and accosted by sales pitches in every direction, police departments are now facing the same kind of pressure as private companies to adopt new AI tools — which, they’re promised, are free of the foibles found in earlier programs like PredPol and CompStat. And as Brookhaven’s Captain Ayana mentioned, all of this is happening inside a regulatory vacuum, with law enforcement leaders left to their own discretion to separate the gimmicks from the legitimately safe and useful tools.

“The use of predictive policing systems can make the future look a lot like the past.”

According to Katie Kinsey, chief of staff and tech policy council at the Policing Project, a nonprofit organization focused on promoting accountability within law enforcement, the challenge facing police departments now is ensuring that the data that’s fed into this advanced new generation of RTCCs is reliable—i.e., free from the biases that infected the training data of earlier tools. “We absolutely do want police practice to be informed by data and to be evidence-based,” Kinsey told me. “But data is not perfect, and not all data is created equal…Understanding the data sources and limitations that police are working with are especially crucial in our AI age where data increasingly is the currency of decision-making.”

Such transparency is made much more difficult when the data is controlled by private vendors, such as Axon, whose business models rely on maintaining the secrecy of their proprietary AI tools. And if there’s one lesson that can be drawn from the broader AI race, it’s that the race to dominate market share often comes at the expense of safety. For the moment though, in lieu of any broad governance, police departments are left to their own devices to choose from a growing roster of tech vendors. The decisions they make today will impact how decisions are made within their departments tomorrow.

When I asked Stephen Redfearn, the chief of Colorado’s Boulder Police Department, about the future of AI within law enforcement, he told me: “It’s going to continue to be kind of a roller coaster for a while, while people get more comfortable with it.”

This reporting was supported by a grant from the Tarbell Center for AI Journalism.

Follow topics and authors from this story to see more like this in your personalized homepage feed and to receive email updates.

#COMPUTER #COPS #big #business #selling #policeAI,Tech">COMPUTER COPS: Inside the big business of selling AI to the police

I stood before a hulking glass and brick structure in the heart of Fort Worth, Texas. Thousands gathered inside to see what had been billed as “the future of policing in the digital age.” As press, I was prohibited from entering, but from a number of nearby locations, I met with attendees who told me what was being sold within. And I learned that AI is threatening to seize the very heart of policing in America.

The promise of AI at this year’s International Association of Chiefs of Police (IACP) Technology Conference focused on automating routine parts of the job, which also happen to be critical steps in the legal process. It’s a similar sales pitch to the one that’s been exhaustively broadcast to businesses in recent years: Let the machines handle the busywork, so you can focus on more meaningful tasks. But in law enforcement, the automation of seemingly innocuous “busywork” — like taking the time to carefully fill out a police report or review a suspect’s case history — can have immense consequences on people’s lives.

Among the AI products on offer at the conference’s showroom this May were facial-recognition cameras, automated license plate readers, body cameras, chatbots to field non-emergency 911 calls, gunshot detection platforms, drones, and report-writing tools. As the country has reckoned with law enforcement becoming detached from actual, human police presence in neighborhoods, the industry is continuing to embrace automation.

Fort Worth Convention Center, 2018.

Fort Worth Convention Center, 2018.
Photo: Felix Mizioznikov / Shutterstock

The decision-making process itself in police departments is increasingly being handed over to algorithms. A legion of tech startups are now selling AI to police as a kind of automated air traffic control system, a centralized digital brain that can process the vast quantities of data now being collected — oftentimes by other surveillance and automation tools sold by those very same companies — and help departments delegate resources accordingly. Even police aren’t necessarily thrilled about these pitches.

“A lot of it is sales gimmicks that don’t actually deliver on what the promise is,” Abrem Ayana, a police captain in Brookhaven, Georgia, told me. In the absence of comprehensive federal oversight or industry standards — and due to the novelty of the tech itself — law enforcement officials like Ayana often have no choice but to take companies’ word that their products are safe and that they work as advertised.

Police departments have used technology for decades to analyze data and, in theory, make more informed decisions in the field. In some notorious cases, it’s completely backfired. CompStat and PredPol (short for “computer comparison statistics” and “predictive policing,” respectively), for example, were two early experiments that sought to mitigate fallible human judgement through the use of supposedly unbiased statistics. Instead, they ended up exacerbating the very problems they were meant to solve. But while those early experiments failed to usher in a new era of unbiased policing as their proponents had hoped, human beings were at least still at the helm, making the most important decisions.

The sales pitch behind this new wave of AI products is that the mistakes of the past were enabled by a lack of objective, real-time data. AI can, in theory, now help to bridge the gap by ramping up the amount of public safety data that’s collected and the level of analysis to which it’s subjected. Many public safety advocacy groups and legal experts, however, warn that an influx of black box algorithms into law enforcement will erode transparency and accountability at a time when much of the public’s trust of the police is already dangerously frayed.

Jason Truppi, a former FBI special agent specializing in cybercrime, told me that police are drowning in a sea of data. Truppi, wearing a pair of Meta Ray-Ban Smart Glasses, spoke quickly and excitedly in sentences peppered with corporate buzzphrases. In late 2020, he cofounded ForceMetrics, a software company offering an “AI-powered decision-assist platform, enabling public safety agencies to increase operational efficiency and better serve their communities in real time,” as described by its LinkedIn page.

All of the record-keeping systems that police departments have been using for the past two decades, from emergency call logs to parole record files to body camera footage databases, have, according to Truppi, created a burdensome information overload. “All the systems of record [used by police departments] are essentially antiquated,” he told me.

“We don’t use the ‘p word’ at all, because it failed.”

ForceMetrics offers police departments a platform called Velocity, which “uses AI to turn overwhelming amounts of public safety data into clear, actionable insights,” according to the company’s website. In police-tech industry-speak, Velocity is what’s known as a real-time crime center, or RTCC. First adopted by the New York City Police Department over 20 years ago, RTCCs are designed to aggregate police data coming in from multiple streams — like 911 dispatch, CCTV cameras, and license-plate scanners — to provide officers with a summary of what to expect when they arrive on a scene. The theory is that the more real-time data you can give officers, the less likely they’ll be to go in “guts and guns,” as Truppi puts it. It’s a cheeky euphemism for when things go bad and people get killed.

In the past, RTCCs were overseen by human analysts whose job was to collect all the incoming digital data, organize it, and send it to the officers on patrol. But as Truppi suggests, the proliferation of new data-collection technologies within policing over the years has made it effectively impossible for any department to stay afloat in the deluge of information. By 2019, the NYPD was collecting around two years’ worth of body camera footage every week, according to the transcript of a 2019 Committee on Public Safety hearing — too much for even the most diligent human employee to meaningfully analyze.

Modern RTCCs like Velocity are designed to quickly extract patterns from oceans of data with the goal of improving situational awareness for cops. According to Truppi, the “unfortunate events” that have so disastrously damaged Americans’ trust in police departments in recent years, especially during the pandemic, can largely be attributed to a lack of what he calls “a data-driven approach” to policing.

Nina Loshkajian, a fellow at the New York University Center on Race, Inequality, and the Law, is wary of this claim. “The reality is that police departments had already been using predictive algorithms, which companies touted as data-driven, for years before calls to defund the police revved up in 2020,” she told me. “These algorithmic systems did not prevent violent encounters between police and civilians then, and we shouldn’t be tricked into thinking they’ll make a meaningful difference in the future.”

Truppi’s company is competing with two of the biggest players in the modern police-technology industrial complex: Motorola Solutions and Axon Enterprise, both of which make not only their own RTCCs, but also many of the data-collection and surveillance technologies they rely on.

In early 2024, Axon — originally called TASER — acquired surveillance technology company Fusus to launch a RTCC, which was officially branded as Axon Fusus. By that time, Axon was already a well-known purveyor of stun guns, body-worn cameras, and automated license plate readers. The company also offers a popular AI-powered report-writing tool called Draft One, drones for police departments through a program called Axon Air, and even its own AI chatbot.

Glitchy looping video of a pair of handcuffs swinging.

Axon and Motorola are part of a very small group of companies competing to effectively monopolize the entire modern police technology stack, from the collection of data at crime scenes to the strategic decision-making capabilities of AI-powered RTCCs. Police departments today often sign onto multiyear contracts with these providers, who in turn offer free trial periods for new tech, along with what are known as sole-source procurement agreements, which enable them to continue selling new products to departments without having to bid against competing offers from other vendors.

“We’re seeing a gold rush into selling [AI] technology to police with the promise that it will all make their jobs easier and more efficient.”

In late 2024, Axon launched its AI Era Plan, a subscription that allows customers to pay a flat annual fee to gain access both to the company’s current AI tools, like Draft One, as well as others it might launch in the future. AI Era Plan subscriptions skyrocketed by 140 percent between the first quarter of last year and the same time this year, according to the transcript of a company earnings call with investors: “we are seeing AI move from early interest to a standard part of how large agencies think about their future technology stack,” Axon President Joshua Isner said in that call. “We are determined to become the AI company in public safety, and we are well on our way.” According to the transcript, Axon’s AI product revenue grew 700 percent year over year.

While bigger companies like Axon, Motorola, and Flock Safety currently dominate the police technology-industrial complex, it’s facing growing competition from the army of newer tech startups that were exhibiting at the IACP tech conference in Texas. “The entire game of all of these companies is to become the platform for policing,” says Andrew Guthrie Ferguson, a professor at Georgetown University Law School and the author of multiple books on the intersection of policing and technology. “We’re seeing a gold rush into selling [AI] technology to police with the promise that it will all make their jobs easier and more efficient.”

That gold rush has also attracted an influx of outside investors: About one-quarter of attendees on the showroom floor at the conference were from “equity firms looking to invest in the latest tech,” according to Amber Schroader, a tech entrepreneur whom I spoke with in Fort Worth during the event. “That was a surprise.”

The sales pitch has been working.

Draft One and other AI-powered report-writing tools, for example, have significant appeal at a time when the average police officer spends 40 percent of a typical shift writing reports, according to a 2024 study conducted by Axon. Many of those are for mundane incidents like traffic stops and noise complaints. “We didn’t sign up to sit behind a keyboard,” said John Mackey, a patrol sergeant with Colorado’s Avon Police Department, which uses Field Notes, an AI-powered report-writing tool made by a company called Truleo. “That wasn’t why I became a police officer.”

Draft One comes with design features intended to force a degree of human oversight. The system will intentionally leave certain details blank, for example, forcing officers to go in and fill them in manually. The platform is built upon a modified version of ChatGPT trained specifically to generate police reports and that, according to the company, is hallucination-free: “The creativity is turned down to zero,” Noah Spitzer-Williams, senior principal product manager at Axon’s generative AI division, has said. That claim should be taken with a very large grain of salt, however, since even frontier labs like OpenAI (the company behind ChatGPT), Anthropic, and Google have not yet figured out how to completely eradicate hallucination from even their most advanced models. And indeed, in one infamous incident from earlier this year, Draft One wrote that an officer in Utah had morphed into a frog, after having picked up audio from the Disney movie The Princess and the Frog, which had reportedly been playing in the background at the scene.

It’s easy to laugh at that incident, but real-world outcomes from AI-written police reports could be deadly serious. When a human officer writes a report, they can be cross-examined in a courtroom to figure out important details like their state of mind at the time, or why they included certain details and omitted others. By definition, it’s impossible to subject black box algorithms to the same level of scrutiny.

Axon and Motorola are part of a very small group of companies competing to effectively monopolize the entire modern police technology stack, from the collection of data at crime scenes to the strategic decision-making capabilities of AI-powered RTCCs.

In the case of Draft One, it was also originally impossible to determine which parts of a report were generated by the AI and which by the human officer once the report has been submitted — save the officer’s own memory. That was a feature, not a bug. In a recorded roundtable discussion published online shortly after Draft One was launched in 2024, Spitzer-Williams said the platform “by design” doesn’t save an original copy of a report after it’s been submitted, “because [the] last thing we want to do is create more disclosure headaches for our customers and our attorney’s offices… it’s actually never stored in the cloud at all so you don’t have to worry about extra copies, you know, floating around.” In other words, if a report generated by Draft One ended up in court and was found to contain erroneous details, there was no way for attorneys or judges to know for certain if those were input by the officer or by AI.

Draft One was updated in December to allow police departments “to retain and access the original, unedited AI-generated narrative,” according to Axon spokesperson Victoria Keough. The change was implemented “as [law enforcement] agencies, prosecutors, policymakers, and legislatures have established clearer expectations and requirements for AI-assisted report writing.”

Brandon Garrett, a professor at the Duke University School of Law who has studied the implications of AI systems for due process, is apprehensive of the technology. “The idea that you’d be making up data — which is what generative models do — to be used in court, is really, really troubling,” he says. “We would never tell a police officer, ‘Just be creative and come up with a story about what you saw at the crime scene.’ Of course not: They’re supposed to objectively record as best as they can and document what they saw at the crime scene. But generative models are designed to create.”

In the wake of the 2008 financial crisis, LA police chief Charlie Beck took inspiration from Wal-Mart and Amazon’s personalized shopping algorithms and wrote that police departments should use similar tools to predict crime. Starting in the 2010s, “predictive policing” programs were widely implemented in cities across the country. But far from creating a new era of fairness and justice in policing, the algorithms in many cases had exactly the opposite effect: Since the models had been trained to detect patterns from historic crime data, the biases hidden within that training data were perpetuated — under the guise of mathematical objectivity.

PredPol, for example, was based on an algorithm originally used to predict the geographical distributions of earthquake aftershocks, the idea being that the same general principle could be applied to predicting crime: the tighter the correlation between a certain area and a particular criminal pattern, so the thinking went, the higher the likelihood that same pattern will continue into the future. This allowed the AI to identify crime hotspots, which personnel-strapped police departments could focus more attention on.

But PredPol and similar programs failed to account for some key facts. For example, more crimes tend to be reported in poorer neighborhoods, which in many major cities are populated primarily by people of color, leading to a higher police presence and arrest rate than those found in other areas. The algorithm had no way of understanding that the fact that there was a higher crime rate in one neighborhood, say, than there was in another, more affluent area was largely the product of a complex history of social, political, and racial biases and policies; it just ingested the data it had been given, leading to a more intensive focus on historically over-policed areas: a self-perpetuating cycle.

This was clearly illustrated in 2016, when AI researchers Kristian Lum and William Isaac tested a predictive policing algorithm using historic drug crime data from the Oakland Police Department. The algorithm recommended dispatching police “almost exclusively to lower income, minority neighborhoods,” Lum wrote in a follow-up article, even though public health data at the time showed that illegal drug use was widely distributed across the city.

The same pattern emerged wherever predictive policing programs were implemented. “The use of predictive policing systems can make the future look a lot like the past,” Ángel Díaz, an associate professor at Loyola Law School, told me. “Because a lot of the data you’re pulling is from the world as understood by biased policing practices, the patterns that exist in that data will be drawn out by the computer and might help inform future policing practices.” In 2024, four democratic US senators urged the Department of Justice to halt all future grants to law enforcement agencies for predictive policing programs, citing evidence that such programs “are prone to over-predicting crime rates in Black and Latino neighborhoods while under-predicting crime in white neighborhoods.”

Predictive policing has therefore become taboo in the modern police-tech industrial complex, a cautionary tale about conflating statistics with objectivity. (PredPol changed its brand name to Geolitica in March of 2021). “We don’t use the ‘p word’ at all,” Truppi told me, “because it failed.”

Experts say a future of policing based on increasingly fine-grained personal data collection and AI-driven policing is frightening. As the decision-making power of AI within policing grows, so too will the inscrutability of the justice system itself, according to Díaz, the Loyola Law professor. “The biggest thing that worries me is that we are rapidly expanding how much data is being collected about all of us,” he told me. “The reality is that the more data you have about any given person, the easier it is to reverse engineer a reason to target them; the more data you have about each individual, the easier it is to transform them into the subject of an investigation.”

Facing budget cuts and staffing shortages, and accosted by sales pitches in every direction, police departments are now facing the same kind of pressure as private companies to adopt new AI tools — which, they’re promised, are free of the foibles found in earlier programs like PredPol and CompStat. And as Brookhaven’s Captain Ayana mentioned, all of this is happening inside a regulatory vacuum, with law enforcement leaders left to their own discretion to separate the gimmicks from the legitimately safe and useful tools.

“The use of predictive policing systems can make the future look a lot like the past.”

According to Katie Kinsey, chief of staff and tech policy council at the Policing Project, a nonprofit organization focused on promoting accountability within law enforcement, the challenge facing police departments now is ensuring that the data that’s fed into this advanced new generation of RTCCs is reliable—i.e., free from the biases that infected the training data of earlier tools. “We absolutely do want police practice to be informed by data and to be evidence-based,” Kinsey told me. “But data is not perfect, and not all data is created equal…Understanding the data sources and limitations that police are working with are especially crucial in our AI age where data increasingly is the currency of decision-making.”

Such transparency is made much more difficult when the data is controlled by private vendors, such as Axon, whose business models rely on maintaining the secrecy of their proprietary AI tools. And if there’s one lesson that can be drawn from the broader AI race, it’s that the race to dominate market share often comes at the expense of safety. For the moment though, in lieu of any broad governance, police departments are left to their own devices to choose from a growing roster of tech vendors. The decisions they make today will impact how decisions are made within their departments tomorrow.

When I asked Stephen Redfearn, the chief of Colorado’s Boulder Police Department, about the future of AI within law enforcement, he told me: “It’s going to continue to be kind of a roller coaster for a while, while people get more comfortable with it.”

This reporting was supported by a grant from the Tarbell Center for AI Journalism.

Follow topics and authors from this story to see more like this in your personalized homepage feed and to receive email updates.
#COMPUTER #COPS #big #business #selling #policeAI,Tech

I stood before a hulking glass and brick structure in the heart of Fort Worth,…