Getting a genuinely capable 85-inch TV under $1,000 used to mean accepting serious compromises on picture quality or smart TV performance. The TCL T7 changes that. It’s down to $999.99 at Amazon, a $400 saving off its $1,399.99 list price, and it brings QLED picture quality, a 144Hz panel, and Google TV to a screen size that most living rooms can accommodate and most budgets previously couldn’t.
What you’re getting
QLED is the right starting point here. Quantum dot color technology pushes brightness and color volume higher than standard LED panels at this price, which makes a meaningful difference on a screen this large, where picture quality inconsistencies are much harder to overlook. HDR support adds further depth to the image, and the high-brightness panel keeps things visible in rooms that get a fair amount of ambient light.
The 120Hz to 144Hz refresh rate is a welcome addition for a TV at this price point, covering both smooth motion handling in movies and sports and low-latency gaming performance for current-generation consoles. Most TVs at this size and price are still shipping with 60Hz panels, so the T7’s refresh rate capability is a genuine differentiator worth factoring into the decision.
Dolby Atmos audio support means compatible content delivers spatial sound without needing a separate decoder, and while the built-in speakers won’t replace a soundbar, they’re a solid baseline for a TV in this category. Google TV handles the smart platform duties with a clean interface, broad app support, and Alexa voice control for hands-free navigation and smart home management.
Why it’s worth it
The TCL T7 sits in a part of the market where size usually comes at the expense of spec. A 144Hz QLED at 85 inches for $999 is a configuration that competing brands typically price closer to $1,300 or above, and the $400 saving here brings it to a point where the math is straightforwardly good for anyone who has been waiting to make the jump to a genuinely large screen.
The bottom line
The TCL 85-inch T7 QLED at $999.99 is the large-format TV deal I’d point most people toward if screen size is the priority. The QLED panel, 144Hz refresh rate, and Google TV platform add up to a well-rounded package that punches above its price, and the $400 saving makes it one of the more clear-cut TV purchases available at this screen size right now.
Google is giving Chrome users two pretty meaningful desktop upgrades, and one of them feels long overdue. Chrome is now rolling out support for vertical tabs alongside a new fullscreen mode on desktop.
These changes were announced by Google as features built to make tab-heavy browsing more convenient to manage, while also offering a cleaner way to read cluttered webpages.
Why ‘vertical tabs’ is a game changer for Google Chrome
Google
Just as the name would suggest, vertical tabs work by vertically stacking your open Chrome tabs. So rather than keeping all your tabs crammed into the usual strip across the top, Chrome can now show them in a neat list along the left side of the Window. Google says this makes full page titles easier to read, especially once your open tab count starts getting out of hand. It even makes Tab Groups easier to organize.
Chrome also lets users collapse that left-hand panel down to a slimmer row of favicons, which should help if you want the cleaner look without giving up too much screen space. To enable this feature, simply right-click the top of any Chrome window and choose “Show Tabs Vertically”, with the option to switch back whenever you want.
What else is coming?
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The second addition is an updated immersive reading mode. Instead of opening in a side panel, the feature now takes over the full page by creating a more text-focused view that strips away distractions from busy websites. Google also describes it as a way to turn cluttered pages into a cleaner reading experience.
To access this feature, just right-click a page and select “Open in reading mode,” or by tapping the “Reading Mode” button in the address bar. This feature is already live now. Though availability may vary a bit at first.
A growing number of older workers are being forced to adapt to artificial intelligence as job insecurity rises, with many turning to AI-related roles or training just to stay afloat. A recent report by The Guardian highlights how experienced professionals, some with decades of expertise, are struggling to find stable employment and are instead entering the emerging world of AI training and gig-based tech work.
The shift reflects a bigger change in the labour market
Many of these workers are not choosing AI careers out of passion, but out of necessity. Stories from the report include individuals who, despite strong qualifications, faced unemployment, age discrimination, or career disruptions and were pushed into roles like data annotation and AI model training. These jobs, while providing income, are often unstable, contract-based, and lack long-term security.
Intuit
This trend matters because it highlights how AI is reshaping not just industries, but entire career paths – especially for older workers. While AI is often associated with future opportunities, it is already displacing or transforming existing roles. As a result, workers who fail to adapt risk being left behind, while those who upskill are often funneled into lower-paying or less secure work. Some experts describe this emerging segment as part of a “gig-style” AI economy, raising concerns about job quality and sustainability.
For individuals, the implications are immediate
The pressure to learn new AI tools and skills is no longer optional, even for those nearing retirement or established in their careers. Many workers are now investing time and resources into upskilling simply to remain employable. At the same time, the emotional toll is significant, with some describing the experience as driven by desperation rather than ambition.
Unsplash
The broader labour market is also feeling the impact. Research suggests that technological disruption, including AI, can lead to long-term earnings declines and slower career recovery for displaced workers. In some cases, individuals are forced into lower-paying roles or entirely different industries, a phenomenon known as occupational downgrading.
Looking ahead, the trend is likely to accelerate
As AI adoption expands across industries, demand for AI-related skills is expected to grow, but so will competition and uncertainty. Policymakers and companies are increasingly being urged to invest in training programs and support systems that help workers transition more effectively.
At the same time, experts warn that upskilling alone may not be enough. Without structural changes to job quality, wages, and worker protections, the rise of AI could deepen inequalities rather than resolve them. For now, many older workers are navigating this shift in real time – learning new skills, adapting to new roles, and trying to stay relevant in a rapidly changing job market.
The Artemis II astronauts have completed their lunar orbit, captured stunning visuals (above), established several new milestones, and are now returning to Earth.
The 10-day journey will culminate on Friday, April 10, with a high-stakes homecoming as the Orion spacecraft hits the atmosphere at speeds approaching 25,000 miles per hour.
During this phase, crew members Victor Glover, Reid Wiseman, Christina Koch, and Jeremy Hansen will endure a 16-minute, intense ride as the vehicle faces the most extreme physical forces of the mission.
Following the uncrewed Artemis I flight in 2022, where the spacecraft experienced some unforeseen heat shield erosion, engineers have made structural improvements. However, the final descent through Earth’s atmosphere this week remains the most dangerous part of the trip for the four astronauts and the mission team.
How to watch
NASA will broadcast the return live via NASA+ and its official YouTube channel. You can also use the embedded video player above to follow the event.
NASA’s current itinerary for Friday is listed below. We will provide updates if any schedule changes occur. All times are listed in Eastern Time.
6:30 p.m.: NASA starts its live coverage of the return flight.
7:33 p.m.: The Orion service module and crew module detach.
7:37 p.m.: Orion performs a short thruster burn to prepare for atmospheric entry.
7:53 p.m.: A critical moment as Orion enters Earth’s atmosphere. The heat shield must withstand temperatures of roughly 5,000 degrees Fahrenheit—about half the heat of the sun’s surface. The spacecraft will slow down at a rate of up to 4G, making the astronauts feel four times their normal weight.
8:07 p.m.: After the parachutes deploy to reduce speed, Orion will splash down in the Pacific Ocean, approximately 50 miles off the California coast. This marks the end of a historic voyage that prepares the way for a crewed moon landing by 2028.
10 p.m.: A news conference will be held at the Johnson Space Center following the splashdown.
X is finally fixing one of the more annoying parts of posting images on the platform. The company’s head of product Nikita Bier announced that X is launching a “brand new Photo Editor” inside the post composer.
Bier said the update adds “long-overdue features like drawing and texting,” bringing a more functional built-in editing experience instead of the barebones image tools users have been stuck with so far.
What’s new with the updated Photo Editor?
Ladies and gentlemen, we’re launching a brand new Photo Editor in our post composer.
It has long-overdue features like drawing & text. But we also included special add-ons that are unique to X:
The big new update on the photo editor is the tools it provides. X users can now draw on images, add text overlays, and blur or redact parts of a picture before posting. While all of this sounds basic in 2026, it is a pretty meaningful quality-of-life upgrade. Users have long had to rely on other apps just to do simple edits before uploading screenshots, memes, or annotated images.
So the updated photo editor feels less like a new feature and more like X finally catching up on something that probably should have existed a while ago.
A small update that actually makes sense
Bier has been more public about small but practical feature updates, and this one falls squarely into this category. Instead of reinventing the image poster, X is just making it more capable. For people who tweet frequently, especially creators, reporters, and anyone sharing screenshots, having access to these tools directly in the composer is quite useful.
X
That’s not all, users can even edit images with words, as the photo editor is powered by Grok. So users can modify images using natural language prompts that go beyond simple editing and into lightweight AI image editing. It also gives X a more direct way to fold Grok into the posting workflow itself, instead of keeping it limited to a separate chatbot-style experience.
This is not the kind of feature that will radically change how people use X. But it is the kind of upgrade that makes the app feel more polished. For now, the rollout is live on iOS, while Android users will have to wait a bit longer. Bier did not provide a specific Android release date in the post, only saying it is coming soon.
Video games have gotten better film and TV adaptations these days. Since 2020, we’ve gotten hits like the Sonic the Hedgehog movies, HBO’s The Last of Us, and Netflix’s Arcane. Now, indie film distributor NEON (Parasite, Anora) has joined in on this modern trend by screening one of the best video game movies ever, Exit 8. Directed and co-written by Genki Kawamura, this liminal horror film is based on the walking simulator, The Exit 8, by indie developer Kotake Create.
Exit 8 follows “The Lost Man” (Kazunari Ninomiya) as he tries to find his way out of a Tokyo subway tunnel that constantly repeats itself. To escape, he must follow these rules: “Do not overlook anything out of the ordinary. If you discover an anomaly, turn back immediately. If you don’t, carry on. Then leave from Exit 8.” Even the slightest mistake sends the protagonist back to the beginning, and the anomalies range from small to immensely terrifying.
In an interview with Digital Trends, Kawamura discusses how he was inspired to take a simple video game and transform itinto an ingenious and profoundnightmare.
This interview has been edited for length and clarity.
NEON & Toho / NEON & Toho
Digital Trends: Now, to get started… how are you feeling today?
Kawamura: I’m really excited by how the U.S. audience is going to respond to this movie. I know it’s a very bizarre, probably not like your standard, movie. So with the U.S. release around the corner. I’m excited to see how the response is going to be.
Digital Trends:Well, as a U.S. citizen who saw an early screening, I think they’re really going to love it. Now Exit 8 is based on a popular video game. Could you tell me how you approached adapting it into a feature-length film?
Kawamura: As soon as The Exit 8 came out[I] played the game right away, and then went on to watch a lot of different streamers and their archives, and it dawned on me that there were as many stories as there were people playing this game.
There were as many instances of drama as there were players. And I go back to a panel that I did with Miyamoto Shigeru from Nintendo, where he said, “Truly great games. It not only has to entertain the player, but it has to entertain the people watching the player play the game as well.”
So with this movie, I set out to capture that phenomenon that’s happening within the video game industry itself where there are players, there are streamers, and there are viewers watching the streamers.
Digital Trends:Right. And personally, I think the movie is incredible. I was truly amazed by the camerawork and how you were able to perform so many long takes in this hallway that’s constantly changing. Could you tell me more about how you filmed the scenes on that set?
Kawamura: Well, I wanted to keep the secret, but I’ll give you a peek. We actually made two identical corridors. So it was like a copy-and-paste. There were two physical corridors back-to-back, and that’s what enabled us to do the single-cut looping shots physically.
So the Walking Man, Kochi Yamato, the actor, he would, for example, walk down the corridor once, and as soon as he walked past the camera, would run to the exit, get on a bicycle, bike to the beginning of the other corridor, catch his breath, and begin walking again.
So our filming methods were very practical and analog because I didn’t want to use CG if at all possible. And because we had two identical corridors, the casting crew would get lost oftentimes. So we had to name the corridors. We named one corridor “Hitchcock” and the other one “Kubrick.”
Digital Trends: Amazing. Now, I’ve seen videos of The Exit 8 game, and [the film] really captures the look and feel of the source material. I know you had to build the film story from the ground up, as the game had no story. One of the biggest differences I noticed was that the protagonist…he’s about to be a father. Why did you decide to make a story about that?
NEON & Toho / NEON & Toho
Kawamura: I commute on the subway system in Tokyo to get to work every day, and there are many people I share the subway with, but we’re all on our smartphones. So it feels very isolated, and to the point where I’m sure a lot of people won’t even notice a crying baby on the train. And even with our smartphones, on our timelines, there are instances of war, of violence that we’ll scroll right past.
So I don’t think anyone on the train is responsible for directly killing anyone else, but I think there are a lot of anomalies happening that we just scroll right past and ignore, and we’re all guilty of this. So what if that guilt manifested itself in this white, sanitized corridor as anomalies and were reflected back on the people who scroll past them? I think that is what might truly be terrifying.
Likewise, our main character and I think [that] our society at large has become more and more selfish. So this idea of taking responsibility for a brand-new life is something that I don’t think a lot of consideration is given to, especially from the main character.
Digital Trends: Yeah, I picked up a lot of those themes from the story. Now, since the movie shows the characters going down the same hallway over and over again, did you fear that the film would get too repetitive for the audience as a feature-length film? How did you keep the film engaging and surprising to your audience?
Kawamura: How I did that part of it was the characters. So I wanted to capture the idea of you’re watching different livestreams of different players, and by switching the point of view or the characters that were following, I think we’re able to keep the audiences engaged.
And at the same time, as we were developing the film, the corridor itself began to take on this characteristic of its own, and I would even argue that the corridor could be the main character of this film.
The corridor is almost like this monster that takes on a will of its own as it sort of toys with the humans that enter it, and this sign, “Exit No. 8.” This yellow sign it oversees all of it is almost this divine creature, this God that’s watching humans within the corridor. So it feels like how from 2001: A Space Odyssey, if we can get the corridor and the sign to have that kind of projection. I thought that would be really interesting.
Digital Trends: Yeah, it’s funny you mentioned that because I did see the hallway as a sort of a sentient entity, but I was getting more of the hotel from Stanley Kubrick’s The Shining. Was that one of your influences in making the story?
NEON & Toho / NEON & Toho
Kawasura: It was a very big influence, and I’m glad that you were able to pick up on that reference.
Digital Trends: Thank you. Now, I read online that there have been talks about an English remake of Exit 8 getting made, as well as remakes being made by filmmakers and many other countries. Have there been any updates about where the franchise is going to go going forward?
Kawamura: I’m currently touring in the United States, and we’re also taking meetings for different potential remakes, but I think to myself that it’d be really cool to see different cities and their own subway and underground networks and systems because I think each Exit 8 is going to have its own drama.
Each city will have its own Exit 8, which will have its own drama. So if there’s this larger Exit 8 universe where all the different stories are kind of part of the universe, that would be really, really cool.
Digital Trends: Yeah, I’m really looking forward to seeing where the franchise takes you.Do you have any other films or TV shows in development at the moment?
Kawamura: My latest novel is coming out this autumn. It’s titled The Horse and I, based on a true story, where a woman embezzles $10 million and spends it all on her riding horses. It’s going to be a thriller. So that’s what I’m working on at the moment.
Digital Trends: That sounds pretty exciting. And now, on the topic of thrillers, I’ve seen from your past filmography that you haven’t done a lot of scary movies…Can you tell me how you approach creating horror and terrifying your audience in film?
Kawamura: I have a lot of history producing animation in Japan, and there are a lot of legends that precede me, Kon Satoshi, Oshii Momoru. These legendary animation directors are really good at taking what’s happening within the human mind and within the human head and sort of putting that out, like projecting it outside into the world and different visual expression.
And I thought if I could somehow do that using the live-action medium, that would create a different kind of moviegoing experience. And for me personally, I find what happens within the human mind much more terrifying than monsters or ghosts.
Crimson Desert has a new late-game problem, and it is a pretty funny one. The true warriors among the players are not happy with the peaceful quiet time after finishing the game.
Some people who have spent hundreds of hours in Pearl Abyss’ sprawling open-world RPG are starting to complain that the world has become “too peaceful” because they have effectively wiped out most of the enemies in certain areas. One player cited by IGN said that more than 100 hours in, certain zones were becoming too peaceful to properly test endgame builds and upgraded gear.
Pearl Abyss
When “too much game” becomes a real problem
This looks like a strange complaint at first, but it says a lot about how people are playing Crimson Desert right now. It has only been a few weeks since the game came out, yet some of its most dedicated players have already sunk enough time into its work to start running into the limits of enemy density and persistence. This appears to be the result of players finishing missions and clearing out large parts of the map so thoroughly that the world begins to feel unusually quiet.
All of this isn’t happening in a tiny RPG, either. Despite how enormous Crimson Desert is, many players are still stuck in the first region even after more than 100 hours. So these “nothing left to kill” complaints feel bizarre and a little impressive at the same time.
A weird complaint, but not a bad sign
Pearl Abyss
This does not sound like an issue for the average player. Rather, this is more like a side effect of the most committed fans who have exhausted certain pockets of the large open world faster than most people ever will. However, it still raises an interesting question about how Pearl Abyss wants its world to behave long-term.
If players are building stronger endgame loadouts, they also need enough worthwhile enemies to actually use them on. While most open-world games get criticized for throwing too many enemies at players, this seems like an issue where the studio needs to throw in a few more.
Scrolling through a streaming library looking for something to watch is its own kind of exhausting. But Tubi just fixed it. The free streaming service has been integrated into ChatGPT, making it the first video streaming platform to do so.
Starting today, you can ask ChatGPT directly for movie and TV recommendations from Tubi’s library and start watching within seconds, all without leaving the chat interface.
How to use Tubi inside ChatGPT?
Getting started is straightforward on both desktop and mobile. On your desktop, click “Apps” in the ChatGPT sidebar, search for Tubi, and connect it. On mobile, tap the plus button near the prompt bar, select Explore Apps, search for Tubi, and connect it.
Once connected, you can either type @Tubi or start your message with something like “Using Tubi, recommend…” followed by whatever you are in the mood for. Your requests can be as broad or specific as you like, from underrated comedy films to movies with your favorite action heroes.
ChatGPT will search Tubi’s library and return matches within seconds. If the first round of recommendations does not quite land, you can keep refining by saying things like “make it scarier” or “suggest something shorter.”
From ChatGPT’s recommendation to watching on Tubi
Tubi
Once you spot something worth watching, a “Watch on Tubi” button takes you straight into the app and starts playing without any additional search.
The more detail you pack into your prompt, the better your results will be. Listing a few titles you already love and asking for something similar is a solid way to get the most out of it.
With Tubi now live as the first streamer in ChatGPT’s growing app ecosystem, the next question is how long before Netflix, Disney Plus, and others follow.
Sony has never really struggled to sell expensive headphones, but this time it seems ready to test just how far premium can stretch. Fresh off launching the Sony WF-1000XM6 and Sony WH-1000XM6, the brand is now reportedly working on something far more exclusive and significantly more expensive. The kind of product that doesn’t just sit in the lineup, but quietly makes even the Apple AirPods Max feel a little more reasonable than usual.
The ColleXion isn’t just a name
Sony is reportedly working on a new pair of premium headphones called the Sony The ColleXion, and they’re not trying to blend in with the rest of the lineup. If anything, they’re trying to stand above it. These headphones are expected to retail for around €629 in Europe. To put that into perspective, the WH-1000XM6 launched at €449. That’s already firmly in premium territory. The ColleXion is a whole new level that is trying to nudge into luxury audio pricing.
Sony
However, there’s still no official word on features, specs, or what exactly justifies the price jump. But given Sony’s track record with noise cancellation, sound tuning, and comfort, expectations are already unreasonably high. And if this really is positioned as a limited-edition product, don’t be surprised if design and materials play a bigger role than usual. The Sony The ColleXion is expected to launch globally on May 19, 2026, which means we’re likely just weeks away from a flood of leaks that will either justify the price or make it even more mysterious. Either way, it’s going to be interesting.
Wait! There’s more
Sony
Alongside The ColleXion, the company is also introducing a new Sandstone color for the Sony WH-1000XM6. It’s set to launch on the same day, May 19, and will cost the same as existing variants. A safe choice, for those who prefer their upgrades a little less existential.
After years of rumors and leaks, Apple’s iPhone Fold is finally inching closer to a launch, and according to Bloomberg’s Mark Gurman, arguably the most reliable Apple oracle, the foldable is on track for a September 2026 debut.
Earlier this week, Nikkei Asia raised eyebrows by flagging development snags with the iPhone Fold, particularly during testing. Gurman, however, pushes back, reporting that despite the device’s complex design, Apple remains committed to its September launch window.
MajinBuofficia
Is the iPhone Fold’s launch on track?
The supply at launch might be tighter than for other iPhones, but the launch timeline itself stands. Does that mean that the purported iPhone Fold will be available to purchase alongside the iPhone 18 Pro models in September 2026? It doesn’t seem so.
While Apple intends to reveal or showcase the iPhone Fold alongside the iPhone 18 Pro and the iPhone 18 Pro Max in September this year, shipping may follow later. In his newsletter, Gurman drew a parallel between the rumored foldable and the iPhone X.
MajinBuofficia
When will Apple chip the iPhone Fold?
Apple announced the revolutionary iPhone X in September 2007, but deliveries began in November. The Fold, at least for now, could follow a similar path, potentially hitting hands as late as December this year.
In exchange for the long wait, buyers could get a book-style foldable that unfolds from a 5.5-inch outer screen to a 7.8-inch inner screen that mimics the aspect ratio and look of the iPad mini, has a 4.5-4.8 mm side profile, runs on a new Apple chip, and has a dual-rear-facing camera array.
Pricing, however, is the most sensitive aspect of the iPhone Fold, which, in my opinion, can make or break the company’s product lineup. For now, the general consensus on the internet points toward a starting price of over $2,000 for the baseline variant.
