For several years now, every Spider‑Man show and film has struggled to exist without Peter Parker. Some have explored the Multiverse and followed new web‑slingers, while others have tried and failed to build their own cinematic universe with films like Venom and Morbius. Though the Spider‑Verse movies have achieved great success, few spin‑offs have justified their existence by advancing the franchise with fresh stories.
That changes with Prime Video’s new series, Spider‑Noir. In this Nicolas Cage‑led production, web‑slinging private investigator Ben Reilly takes on a case involving super‑powered people like himself in 1930s New York. Rather than a conventional superhero adventure, the show delivers a hard‑boiled detective tale that stands apart from the many Spider‑Man movies and series we’ve seen so far.
**Spider‑Noir revives a weary, repetitive franchise**
Spider‑Noir opens strong by abandoning the web‑slinger’s classic origin. Audiences already know Peter Parker’s teenage backstory—great power, great responsibility. This series cuts through that familiar web by introducing Reilly long after he’s obtained his powers and suffered personal loss.
By focusing on a Spider‑Man who has already failed and abandoned crime‑fighting, Spider‑Noir offers the hero’s story from a dramatic, new perspective. Instead of a young, awkward Peter Parker, we get an older, angry, and despondent Ben Reilly who feels like a Humphrey Bogart anti‑hero from *Casablanca* or *The Maltese Falcon*.
Reilly isn’t becoming a superhero; he’s deciding whether he wants to be one again.
**Nicolas Cage supplies the series’ soulful core**
Cage made a memorable cameo voicing Spider‑Noir in *Into the Spider‑Verse*, but his role was mostly comic relief. In this live‑action series, Cage gets ample space to stretch his acting muscles, and the show leans into his strengths.
Reilly is cynical, scornful, and occasionally goofy. One moment he’s roughing up gangsters in a bar; the next, he’s undercover as a plumber or an Eddie‑G‑style cop. Cage doesn’t deliver another over‑the‑top performance, yet it’s clear he’s reveling in bringing this weathered, witty web‑slinger to life.
All of this makes Ben Reilly one of Cage’s most engaging and fully realized characters, far beyond a simple cameo or parody.
**The noir setting refreshes every character**
The series doesn’t romanticise 1930s New York. It portrays the era in stark black‑and‑white, highlighting racism, sexism, political corruption, and post‑war trauma. We experience these weighty issues through supporting characters who add depth and realism.
Robbie Robertson (perfectly played by *New Girl* star and Emmy winner Lamorne Morris) works alongside Reilly as a journalist fighting to regain his job and expose the city’s buried truths.
Li Jun Li (*Sinners*) brings nuance to Cat Hardy, the femme fatale who tugs at the Spider’s heartstrings. She isn’t the comic‑book cat‑burglar fans expected, but the writers give her enough care and complexity to make her stand out.
Even classic villains like Sandman receive the same thoughtful treatment. Portrayed as old‑time gangsters, they feel more like tragic creatures from a Universal monster film—caught in the wrong place at the wrong time, trying to make the most of a harsh life.
The crime boss Silvermane, however, remains a ruthless ruler. Though he doesn’t become a cyborg as in the comics, Silvermane controls the city with an iron fist and a heart of steel. Emmy‑winning actor Brendan Gleeson (*The Banshees of Inisherin*) exudes quiet terror as Silvermane, delivering a grounded yet monstrous noir villain.
**Spider‑Noir fuses noir aesthetics with comic‑book visuals**
Many modern superhero movies and series now share a homogenised visual language, making them feel less fresh. Spider‑Noir, by contrast, oozes artistic originality.
Beyond its black‑and‑white palette, the series employs super‑imposed shots, diopter lenses, and Dutch angles, creating a visual style that stands out from most comic‑book adaptations. Some frames even resemble comic panels brought to life on screen.
**Spider‑Noir nails what other entries missed**
The Spider‑Verse films proved that audiences will follow Spider‑Man stories that experiment with new genres and visual styles. Spider‑Noir takes that experiment to live‑action and delivers impressive results.
While Sony has scaled back on Spider‑Man spin‑offs, the franchise doesn’t need a single shared universe to thrive. It needs bold, self‑contained narratives that push beyond traditional superhero fare. If Spider‑Noir can succeed as a detective series, there’s no reason why cyber‑punk Spider‑Man 2099 or anime‑inspired Peni Parker can’t do the same.
The Multiverse has often been used by studios to recycle old plots and stay safe. Spider‑Noir shows that the franchise can have a bright future away from Peter Parker.
Stream Spider‑Noir on Prime Video and MGM+ starting May 27, 2026.
Spotify has launched Podcast Clips, a new feature that lets you capture, trim, save, and share specific moments from any supported podcast directly inside the app. It is rolling out globally today to both Free and Premium users on mobile.
How to share Spotify Podcast Clips?
While listening to a supported podcast, tap the new scissors icon in the Now Playing view. This brings up an interface where you can select the exact moment you want, trim it to the right length, and preview it before saving.
Once saved, your clips live in Your Library, where you can revisit them anytime or add them to a podcast playlist. When you are ready to share, tap the share button and choose your format.
The updated sharing menu now gives you four options: full episode, chapter, timestamp, or clip. You can send it directly to friends via Spotify Messages or any other supported platform.
Why does this feature matter?
A growing number of major tech and AI executives now skip traditional media interviews entirely and instead sit down with podcasters. That means a lot of news is breaking on long-form podcast episodes that most people do not have time to listen to in full.
Podcast Clips makes it easier for the best moments from those conversations to actually find an audience. For creators, a shared clip also acts as a discovery tool, pulling new listeners in through a single standout moment rather than asking them to commit to a full episode upfront.
CD Projekt Red is pulling Geralt back into The Witcher 3. The studio has announced *Songs of the Past*, a third expansion for *Wild Hunt* slated for a 2027 release on PlayStation 5, Xbox Series X/S, and PC. The announcement thrusts the decade‑old RPG back into the spotlight, with players once again joining Geralt of Rivia on the Path, co‑developed alongside Fool’s Theory.
CD Projekt Red says further details will arrive in late summer 2026, leaving big questions unanswered: the scope, price, and exact launch window remain unknown.
**Why bring Geralt back now?**
The Witcher 3 hardly needs rescuing. CD Projekt Red notes the game has sold over 60 million copies since 2015 and amassed more than 250 Game of the Year awards out of roughly 1,000 industry honors. This legacy raises expectations for *Songs of the Past*. Fans won’t view it as a stray side quest attached to an old favorite; they’ll compare it to the *Hearts of Stone* and *Blood and Wine* expansions that made Wild Hunt feel unusually complete.
**How much is truly new?**
Fool’s Theory adds credibility, as CD Projekt Red confirms the team includes veterans who worked on the original Witcher 3, easing concerns about handing a new Geralt story to an external co‑developer. The reveal came amid a bit of chaos, with a Red Launcher leak and a same‑day trademark filing for *Songs of the Past*, making the announcement feel less staged.
**What does this mean for players?**
The looming Ciri factor hangs over everything. The upcoming Witcher 4 is expected to shift focus toward Ciri, giving Geralt’s new expansion a sharper edge for fans who still see him as the series’ defining face. For now, the practical step is to wait for specifics before treating *Songs of the Past* as a full‑scale farewell. Geralt is indeed returning, but the size of the hunt remains uncertain. Late summer 2026 is the date to watch.
Samsung appears to be gearing up for a major overhaul of its flagship Galaxy S series. Recent leaks suggest the company is testing a Galaxy S27 Pro model that would sit between the regular Galaxy S27 and the Galaxy S27 Ultra, and could deliver a camera experience that diverges noticeably from the Ultra’s.
The biggest shift concerns Samsung’s telephoto approach – an area that has drawn criticism for Galaxy Ultra devices over several generations.
### Samsung could finally retire its most criticised lens
Current rumors indicate that both the Galaxy S27 Pro and the Galaxy S27 Ultra will share a 200 MP main sensor and an ultrawide module. The key distinction is expected to be the zoom hardware. The S27 Pro is rumored to house a new 50 MP ALoP telephoto sensor with 3.5× optical zoom, while the S27 Ultra may retain a separate 50 MP telephoto unit offering 5× optical zoom.
More importantly, Samsung is said to be planning to drop the long‑disliked 3× telephoto lens from the Ultra altogether. That lens has consistently underperformed relative to the stronger 5× zoom and the high‑resolution primary camera, delivering uneven image quality.
If the leaks are accurate, Samsung might rely more on cropping from the 200 MP main sensor for mid‑range zoom levels, simplifying the camera stack and potentially improving overall consistency.
Ironically, the S27 Pro’s 3.5× optical zoom could provide a more balanced and usable photography experience for many users. Mid‑range zoom is often more practical for portraits, food, pets, and everyday shots than extreme long‑range zoom.
### Samsung may finally solve its “middle child” dilemma
The information also hints that Samsung is re‑evaluating the structure of its flagship lineup. Historically, Ultra models have received almost every premium component, while the standard and Plus variants felt like watered‑down alternatives. This left consumers choosing between a compact phone or the feature‑laden Ultra. The S27 Pro could finally bridge that gap.
Reports suggest Samsung wants the Pro to act as a genuine premium flagship rather than a slightly upgraded Plus. The main trade‑off versus the Ultra might simply be the lack of an S Pen and a different zoom range.
This mirrors the strategy employed by Apple with its iPhone Pro range, giving buyers two top‑tier options instead of a single, clearly superior model.
### Why it matters
Should Samsung implement these changes, the Galaxy S27 series could represent one of the most significant flagship redesigns in years. Removing the 3× telephoto lens would address one of the longest‑standing grievances about Ultra cameras, while a more premium S27 Pro would offer a flagship experience without the bulk of the Ultra.
It’s worth noting that these details are still early leaks. Samsung is reportedly testing several prototypes, so specifications and camera configurations could evolve before launch. The Galaxy S27 lineup is expected to be unveiled in early 2027, and further leaks about the chipset, battery, and naming are likely to surface in the coming months.
For now, the Galaxy S27 Pro is shaping up to be one of Samsung’s most intriguing flagship experiments in recent memory – and possibly the device that finally resolves the company’s awkward middle‑ground issue.
Samsung’s top‑tier phones already cost enough to make your bank account wince, and 2026 may tighten the squeeze on the upcoming Galaxy S26 line. A fresh report suggests that shoppers in at least one European country will soon face another price increase.
According to the source, Samsung plans to lift prices on several flagship models in Greece starting the first week of June. The devices reportedly affected include the Galaxy S series, Galaxy Z Fold 7, Galaxy Z Flip 7, and the Galaxy FE lineup. The hike is expected to be at least €100 (about $116), with higher‑capacity versions potentially seeing even larger jumps.
Premium Samsung phones are becoming pricier
This could just be the beginning. In other parts of Europe, base‑storage variants have reportedly seen price bumps of €50‑€80 (roughly $58‑$93). In the United States, the same report indicates that the Galaxy S26 series experienced increases ranging from $40 to $100, with larger‑storage models hit hardest.
Samsung has already shown a willingness to let storage upgrades absorb some of the cost pressure. Not long ago, the company raised prices on higher‑storage versions of devices such as the Galaxy Z Flip 7, Galaxy S25 FE, and Galaxy S25 Edge by up to $80, while certain Galaxy Z Fold 7 and Galaxy Tab variants also saw price hikes.
What’s driving the price surge?
The ongoing memory shortage and rising component costs are forcing price hikes across the board, from budget to flagship tiers. Even Chinese manufacturers, known for competitively priced flagships, have begun to raise their prices.
With Samsung’s Unpacked event for the next‑generation foldables – the Z Fold 8, Z Fold 8 Ultra, and Z Flip 8 – on the horizon, we can expect these new foldables to carry a steeper price tag than their predecessors.
In recent years, several popular YouTubers have successfully transitioned into horror filmmaking, and A24’s Backrooms may be the most ambitious example yet. Directed by 20‑year‑old Kane Parsons, the film follows therapist Mary (Renate Reinsve) as she searches for her patient Carl (Chiwetel Ejiofor) after he disappears into a strange alternate dimension hidden behind his furniture store.
Although Backrooms originates from an internet creepypasta, Parsons turned the concept into a viral YouTube short series, converting an online myth into one of the web’s defining modern horror phenomena. With his feature‑length debut, Parsons joins the ranks of online creators‑turned‑filmmakers such as RackaRacka (Talk to Me), Chris Stuckmann (Shelby Oaks), Markiplier (Iron Lung), and Curry Barker (Obsession). The movie also continues the rise of liminal horror works like Skinamarink and I Saw the TV Glow.
In an interview with Techgeeks, Parsons sat down with Ejiofor and Reinsve to talk about translating Backrooms to the big screen, evolving the story from a series of low‑budget shorts into a thoughtful, character‑driven narrative.
Backrooms turns liminal horror into a haunting character study
Much like NEON’s liminal horror hit Exit 8, Backrooms captures the terror of the ordinary, turning mundane spaces into something deeply unsettling. Beneath the surreal sci‑fi horror lies a tale about how people cling to daily routines, even when those routines imprison them in isolation.
Both Mary and Carl feel stuck in unfulfilling lives, but Carl especially longs to break free. After his dream of becoming an architect falls apart, he settles for a dead‑end job at a furniture store, where the Backrooms offers an escape from his bleak existence. Parsons reinforces these ideas with a nostalgic 1990s setting, liminal visuals, and a found‑footage‑inspired style.
While speaking to Techgeeks, Ejiofor described Backrooms as a “psychological investigation” of Carl, whose mind becomes linked to the ever‑shifting maze.
“What I loved was that this character had a real complexity that mirrored the experiences he was going through in the Backrooms in a way that I found really bizarre but also really compelling, and there was something in Carl’s psychology that explained the environment, in a way that I understood as a feeling. It felt very deeply cinematic to me.”
Throughout the film, the maze appears shaped by Carl’s memories—filled with furniture from his store and props from one of his commercials, symbolizing how his work has consumed his life. Familiar objects become the basis for an unnerving environment populated by oddities such as mauled seagulls, warped street signs, and distorted humanoid creatures.
This empty, repetitive space also mirrors his loneliness. At the same time, the film shows that Carl’s isolation is partly self‑inflicted; retreating deeper into the Backrooms represents a withdrawal into his own mind, where he can become the person he always wanted to be. His obsession with mapping the maze echoes the architectural ambitions he never realized.
Backrooms blurs the line between doctor and patient
Even with a rich online mythology to draw from, one of the most compelling aspects of Backrooms is the dynamic between Mary and Carl. Because of his divorce and dreary job, Carl repeatedly turns to Mary for therapy, often reenacting moments from his failed marriage during sessions.
While Mary tries to help, the film makes clear she is also a human grappling with her own emotional baggage. A traumatic childhood drove her into therapy work, and her self‑help book never reached the audience she hoped for.
As the story unfolds, it becomes evident that Mary doesn’t have all the answers. Like Carl, she struggles to make sense of the chaos in their lives—chaos that materializes inside the Backrooms themselves.
Speaking to Techgeeks, Reinsve said she was “fascinated” by how the environment mirrored the characters’ internal states.
“The characters, up against each other, had a similar structure that mirrored what was happening in the Backrooms. It was layered psychology, pointing to what’s happening in our world with technology and development, and that drew me in.”
Ultimately, the film suggests Carl must be willing to change to improve his life. Instead of confronting his personal issues, he continues to complain about how unfair the world is, which only deepens his suffering. This message delivers a surprisingly mature narrative from a young filmmaker.
What’s the verdict on Backrooms?
In the end, Backrooms offers a mind‑bending, nerve‑wracking nightmare about how daily routines can consume us. Whether it’s running a furniture store or trying to understand the Backrooms themselves, the movie shows how people can imprison themselves emotionally, manifested as an infinite, liminal maze filled with horrors and unanswered mysteries.
Parsons delivers this bold, insightful story with nail‑biting suspense, surreal imagery, an eerie soundscape, and stellar performances from the cast, making Backrooms one of the most impressive horror debuts in recent memory.
“All of this comes from years of building an existing mythology. The vector I explored on YouTube was very much sci‑fi, giving a deep, thorough human perspective—you don’t get clear answers, but you can piece together an understanding of what this place is or what the circumstances are.”
Barnes & Noble chief executive James Daunt recently sat down with NBC News and voiced a thought that has been lingering in my mind. When questioned about books generated by artificial intelligence, Daunt replied, “I have no issue selling any title, provided it doesn’t pretend to be something it isn’t, possesses an essential quality, and the reader wants it.”
On the surface, that sounds reasonable: as long as readers can see the label, they can decide for themselves. Yet a closer look reveals several unanswered concerns.
Is a simple label truly sufficient?
Barnes & Noble is a heavyweight in the publishing retail space. When the nation’s largest book seller signals that AI‑crafted titles are welcome on its shelves, it conveys to publishers, agents, and authors that this is a legitimate product class.
Consider what a genuine book represents. An author may spend months or years researching, drafting, revising, and shaping a work, infusing every page with the perspective forged by their life experiences. That human element is what makes books distinct and why we often read multiple takes on the same subject.
AI, by contrast, aggregates everything it has learned from human output, strips away the humanity, and spits out a generic product. It may boast flawless grammar, tight plot structure, and even an engaging story, but will it carry the human touch that makes a book special? Most likely not. At best, it mimics, borrowing from the great works written by humans.
When a major retailer shrugs and declares AI titles are fine as long as they’re labeled, it erodes the notion that a book is a human endeavor. Moreover, who decides what qualifies as AI‑written and what the label should look like? Is it enough for the label to be hidden in fine print where only the diligent will spot it?
Even with a clear label, what does that achieve? Would you let a thief into your home just because they wear a “thief” badge? It’s absurd. Any AI‑generated book, no matter how polished, is essentially a thief in disguise, pilfering stories from human authors without consent.
The human cost of letting AI books onto our shelves
Physical bookstores have limited shelf space. Allowing AI titles to occupy that space does not create new room; it displaces works written by humans. Without a robust system—something Barnes & Noble does not appear to have—readers will struggle to tell human‑authored books from AI‑generated ones.
Daunt even admitted that the chain might already be selling AI titles unknowingly. “We have 300,000 titles across all of our stores. Do we think some of those may be AI? The chances are that they are, but we’re not really conscious of them,” he told NBC News. That is far from the reassuring confession he seems to think it is.
What you see is what you buy. If thousands of shoppers walk into a store and see AI titles prominently displayed, many will pick one up, generating revenue for a megacorporation or an AI entrepreneur treating books as a side hustle. That sale could have gone to an author who truly earned it.
I’m not claiming every human‑written book is a masterpiece—I’ve penned a few duds myself. But even a mediocre book reflects real effort, so the sting of the purchase is softer.
Imagine how it would feel if your own books were produced by a prompt. Because AI can churn out titles far faster than any human, opening the floodgates will inundate the market. The e‑book arena is already saturated with AI filler; we don’t want our brick‑and‑mortar stores to look the same.
This isn’t happening in isolation
If Barnes & Noble were making this call alone, it would be one thing. Instead, it’s part of a broader, troubling trend.
AI licensing deals have become a significant revenue stream for publishers, making the agreements seem justified. Yet the writers whose work fuels these models are largely left empty‑handed.
The pattern is clear: media companies license their content to AI, AI uses that material to generate new content, retailers then agree to sell that AI‑generated content. This cycle will repeat until human writers are edged out and we are left holding a mountain of AI‑generated fluff, wondering how we arrived here.
Books remain one of the few realms where human creativity has not been fully overtaken by AI. Opening that door—even with a label attached—sets a precedent the industry will struggle to reverse. Some doors should stay closed, no matter how tempting the profit behind them may appear.
Whoop charges $30 per month, while Fitbit Air keeps some of its advanced metrics behind the Google Health Premium subscription, which costs $9.99 per month. The Oura Ring isn’t free either. The screenless fitness tracker market, I’d say, has quietly become one of the most subscription‑heavy corners of consumer tech.
Luna is betting that enough people have already noticed this to build a business around an alternative. The company behind the Ring smart ring is gearing up to launch its first screenless fitness band in July 2026.
When will Luna Band be available for pre‑orders?
The Luna Band was first showcased at the CES 2026 and an official microsite is already live with the key features. Now, the company has confirmed that the pre‑orders open on July 4, and the Band ships on July 31, 2026.
Though Luna hasn’t confirmed the pricing yet, it has explicitly mentioned that the Band won’t require a subscription, which, in this market, is a practical differentiator if you ask me, as that’s how the company can attract a good number of buyers who don’t want to pay every{nbsp}month to get their own fitness data.
Regarding the feature list, it goes further than just basic activity and sleep tracking. Luna Band lets users log food intake, supplements, and recent bloodwork, and stores relevant medical data for reference, something that neither of the competitors address directly.
What other features does the Luna Band offer?
The fitness band runs on Luna’s LifeOS, which supports integration with Siri (for iPhone users) and Gemini (for Android users), allowing for custom agentic workflows, including haptic alerts and schedule management.
Voice‑based health logging is also expected on the fitness band, according to CNET, though whether the band itself features a microphone or the feature works via paired phones is something that remains unclear. On one charge, its battery should last up to 10 days, which is quite comparable to Whoop.
The design, for now, sits closer to Whoop than Fitbit Air. It features a broader, textured strap, with a variety of materials and colors. The buckle appears to be metal, while other materials used on the band are hypoallergenic, meaning that they’re suitable for extended use.
The PlayStation Portable, or the PSP, was discontinued over a decade ago, yet its cultural footprint has never truly vanished. In a surprising twist, fast‑fashion retailer Zara has given the device a new lease on life by releasing a cross‑body bag modeled after the original PSP‑1000.
The Zara PSP Crossbody Bag lives up to its whimsical name – it’s both charming and a bit absurd. The drop arrived without any fanfare or marketing push, but the retro‑gaming community has already spotted it.
What does the bag actually look like?
It’s a compact cross‑body bag whose front panel is a silicone replica of the PSP‑1000, rendered in meticulous detail. The design features embossed buttons, logos on both sides, an analog nub, and a vinyl strip that mimics the iconic 4.3‑inch widescreen screen.
The adjustable shoulder strap also bears PSP branding, complete with the classic triangle, circle, cross, and square symbols. Zara clearly aimed for an authentic look rather than a cheap knock‑off, and the result reflects that intention.
The bag measures 4.3 × 7.9 × 2 inches, includes a main zippered compartment, and is constructed from a polyurethane thermoplastic front with a silicone overlay, plus a polyester shell and lining.
How much does it cost, and where can you buy it?
At present the Zara PSP Crossbody Bag sells for $35.90 in the United States and £19.99 in the United Kingdom, available directly through the brand’s official website and in its stores. It comes only in black.
The product page even displays a trademark symbol, suggesting a licensed arrangement between Zara and Sony, although neither party has officially confirmed the partnership.
Priced at $35.90, it may be one of the most affordable pieces of PSP memorabilia you can own – if the console holds any significance for you.
Oppo has introduced a fresh accessory for its smartphones in China called the Oppo Bubble, and it turns out to be surprisingly adaptable. It works as a selfie‑enhancing tool, a tiny rear‑mounted display, a whimsical phone add‑on, and a generally fun gadget – the kind of thing that would have dominated tech TikTok a few years back.
Unveiled together with the Reno 16 lineup, the Bubble is a small magnetic circular screen that snaps onto the back of compatible Oppo phones. Essentially, it acts as a secondary display that improves selfie composition, which is genuinely useful. It’s lightweight, customizable, and boosts your selfies or group shots thanks to the enhanced rear‑camera view. Normally you’d have to guess the framing with the rear cameras, but this accessory handles that for you.
What can it actually do?
The Oppo Bubble features a circular AMOLED touchscreen capable of showing static wallpapers, live photos, videos, emojis, decorative themes, and carousel‑style media playback. So it’s not limited to just being a selfie helper, although the wireless camera preview is undoubtedly its most practical function.
When attached, users can preview framing, tweak angles, and trigger the shutter remotely. Oppo claims the Bubble supports a wireless live preview from up to 10 meters away, making it handy for tripod work, group photos, or anyone who’s ever endured the awkward “set timer, run into frame, hope for the best” routine.
Useful and still light
The good news is Oppo kept the device slim. The Bubble is about 7 mm thick and weighs roughly 27.5 g, so it won’t turn your phone into a pocket dumbbell. It houses a built‑in 550 mAh battery, pairs without cables, and is automatically detected by compatible Oppo phones when brought nearby.
You can also use it as a standalone hanging display when paired with a suitable protective case. Priced at 499 yuan (around $75) in China, the Bubble currently works with the Oppo Reno 16, Reno 15, Reno 14, Find X8, and Find X9 series.
Given how impressive some of Oppo’s latest flagship cameras are, owners of those phones can get a lot out of accessories like this. Not everyone needs a tiny magnetic selfie screen on the back of their device, but vloggers, selfie enthusiasts, and fans of playful tech will definitely appreciate the novelty.
