Soft robots may soon be more flexible than ever… and a tad creepy. As The Guardianreports, researchers have developed a magnetic slime “robot” that can shift into different shapes to grab objects. It can encircle a group of pellets, for instance, and even stretch out in multiple directions to grab items on opposite sides. It’s self-healing, too. The result might induce some nightmares for the squeamish and is more than a little reminiscent of Spider-Man‘s symbiotic Venom, but it’s surprisingly effective.
The slime is made from the blend of polyvinyl alcohol (a polymer), borax and neodymium magnet particles. The result is a non-Newtonian fluid that behaves like a liquid or solid depending on force, and can be controlled using external magnets. There are no robotics inside the slime at present, but you can steer it like a robot— and the “ultimate goal” is to use it like one, according to researcher and co-creator Li Zhang.
There are numerous problems left to solve. On top of fitting robotics into such a soft design, the scientists also want to prevent the toxic neodymium particles from seeping out. A layer of silica in this current slime helps, but safety inside a living being might depend on limiting contact. If the technology becomes sufficiently safe and effective, though, it could help doctors recover swallowed objects and otherwise squeeze robots into places where they were previously impractical.
There should be at least one unionized Amazon warehouse in the US. CNBCreports Workers at the company’s JFK8 facility in Staten Island have voted 2,350-1,912 in favor of joining a union in a late March election. While the official count isn’t yet available, the remaining uncounted and challenged ballots aren’t expected to sway the outcome.
The decision came after numerous challenges. Workers had to file a second petition with the National Labor Relations Board after they didn’t get enough signatures last fall. The NLRB has also accused Amazon of interfering with unionization efforts at JFK8, including firing pro-union workers and intimidating them through surveillance and questioning.
The Amazon Labor Union at the heart of the vote has made multiple demands. Its requests include higher pay, “more reasonable” productivity targets and additional time off. Amazon has faced multiple claims it relies on unrealistic quotas and discourages time away from work stations.
We’ve asked Amazon for comment. It’s likely to be unhappy with the results, though. Amazon spent $4.3 million on anti-union consultants just in 2021, and the internet shopping giant was accused of interference elsewhere. The Retail, Wholesale and Department Store Union even claimed Amazon interfered with a second unionization vote in Bessemer, Alabama that the NLRB deemed necessary due to obstruction during the first election.
Provided the election results hold, the vote would make JFK8 the first Amazon warehouse with a union. There’s no guarantee this will lead to other warehouses following suit. The second Bessemer vote was close enough that it will likely be decided by challenged ballots, to start. A second Staten Island location is due to vote April 25th, though, and this initial win for the pro-union camp might just influence other votes.
Update 4/1 1:50PM ET: In a statement, Amazon said it was “disappointed” with the Staten Island vote and was considering options that included filing objections to the alleged “inappropriate and undue influence” from the NLRB. It cited support from private business groups including the Chamber of Commerce and the National Retail Federation.
While many of this week’s deals only lasted for a limited time, some of them are still available. Apple’s new iPad Air is $29 off and down to $570, while the iPad mini is $40 cheaper than usual and down to $459. Amazon’s much-improved Echo Buds are 58 percent off and down to only $50, and you can still grab 8BitDo’s Pro 2 controller for just over $40. Here are the best tech deals this week that you can still get today.
iPad Air (2022)
The latest iPad Air is $30 off right now, bringing the 64GB model down to $570 and the 256GB version down to $720. The new M1-powered iPad earned a score of 90 from us for its super-fast performance, long battery life and improved front camera.
Apple’s latest iPad mini is on sale for $459, which is $40 off its normal price. We gave the small tablet a score of 89 for its lovely display, refined design and excellent battery life.
Amazon’s latest Echo Buds are a whopping 58 percent off, bringing them down to only $50. These were already solid, affordable earbuds at their regular $120 price, but they’re an even better option at this price. We gave them a score of 80 for their improved sound quality, good ANC and smaller size.
8BitDo’s excellent Pro 2 controller is 15 percent off and down to $42.50. In addition to being compatible with Nintendo Switch, Windows, macOS, Android and Raspberry Pi, the Pro 2 has a familiar layout plus two back buttons, and all of its inputs are customizable using the companion apps for Windows, Mac, Android and iOS. The Pro 2 is included in a wider gaming accessories sale on Amazon, which includes other peripherals like the Razer Wolverine V2 Chroma controller for $127.50.
The Bose QC45 headphones are on sale for $279, which is their all-time-low price that we saw last Black Friday. We gave the cans a score of 86 for their excellent sound quality, strong ANC and comfortable fit.
Amazon has knocked $100 off Samsung’s Galaxy S22 smartphone, bringing the handset down to $700 for the 128GB model and $750 for the 256GB version. We gave the flagship phone a score of 87 for its slick design, strong performance and excellent camera array.
The T7 Touch portable SSD in 1TB is on sale for $140 right now. This palm-sized drive works with most devices thanks to the duo of cables it comes with, and it supports 1,050 MB/s read speeds, 1,000 MB/s write speeds, AES 256-bit encryption and Dynamic Thermal Guard.
Xbox Stereo Headset 20th Anniversary Special Edition
You can pick up this special edition Xbox headset for $50, which is 29 percent off its normal price and a record low. This is a wired headset that has green accents and support for Windows Sonic spatial sound.
PowerA’s Enhanced Wired Controller for Xbox is 32 percent off and down to only $26. It’s a good option if you want another controller for your console but don’t want to pay the premium attached to the first-party options. This one has a familiar, ergonomic design, dual rumble motors and mappable buttons.
Samsung’s 65-inch The Frame smart TV is $300 less than usual on Amazon right now, so you can grab it for $1,500. In addition to Quantum Dot technology and built-in Alexa, The Frame series has Art Mode, which shows artwork on the screen when you’re not watching TV.
Amazon’s labor practices are facing political scrutiny following a tornado that collapsed a warehouse and killed six people in Edwardsville, Illinois last December. The New York Timesnotes the House Committee on Oversight and Reform has launched an investigation into Amazon’s practices in severe weather conditions. Committee chair Rep. Carolyn Maloney as well as member Reps. Alexandria Ocasio-Cortez and Cori Bush are worried about reports Amazon forced staff to work at and around the Illinois facility despite the tornado threat, jeopardizing the safety of employees and contractors.
After the collapse, reports emerged that Amazon supervisors threatened to fire or otherwise punish workers if they left to take shelter. One contracted driver, for instance, was told to keep delivering packages or risk losing her job. The representatives also pointed out previous concerns, such as workers being made to stay through two days of air quality warnings during California’s November 2018 wildfires.
Maloney, Ocasio-Cortez and Bush sent a letter to Amazon chief Andy Jassy requesting communications and documents surrounding the Illinois collapse. They also asked for documents covering firings or other discipline around the time of seven labor incidents, including at Bessemer, Alabama and Staten Island, New York warehouses where workers have tried to join unions. Amazon has until April 14th to respond.
Amazon didn’t directly address the letter in a statement to The Times. Spokeswoman Kelly Nantel told the newspaper the company would answer the letter “in due course” but that its focus was on supporting “all those affected by the tornadoes.”
The House investigation won’t necessarily result in legislation or other actions requiring Amazon and other companies to better protect workers in extreme weather. It may draw more attention to Amazon’s labor policies, though, and comes soon after senators began an investigation into possibly illegal terminations for employees who took time off. Amazon is under close watch, and it’s unlikely to get a break any time soon.
If there was ever a Star Trek film that needed a do-over, both artistically and reputationally, it was The Motion Picture. Dismissed by critics as boring and sterile when it came out, its nickname inside Trek fandom has long been “The Motionless Picture.” In 1997, director Robert Wise started the process of re-examining the film, with a Director’s Edition being birthed at the dawn of the DVD era in 2001. For a couple of reasons, the altogether better version of that movie fell into obscurity, unavailable for most people to see. Now, twenty years after Wise’s amended film made its debut, the film has been given a second do-over in the form of a 4K remaster for Paramount+.
The Abandoned Picture
You can buy a shelf’s worth of books discussing the troubled production of The Motion Picture, and its creative failures. Paramount wanted a new Star Trek TV series, until the money men balked at the cost and potential disinterest from advertisers. The pricey show got crunched into a single movie-of-the-week, right until the moment that Star Wars (and Close Encounters) swallowed 1977 whole. Bosses wanted a slice of that late ‘70s sci-fi movie pie and upgraded the Trek project to a big-budget movie. Except none of the already-made material was movie quality, and the effects house wasn’t up to the task at hand.
The Motion Picture was directed by Robert Wise, a footnote in a career that started in 1934 and ran through 2000. Wise got his big break as Orson Welles’ editor on Citizen Kane and, more controversially, The Magnificent Ambersons. He’d won enough Academy Awards that The Motion Picture wouldn’t be in the top ten of his most notable achievements. The special effects were eventually completed by the recently-departedDouglas Trumbull and John Dykstra; both could point to 2001 and Star Wars as the highlights on their own resumes. Even so, Wise was battered by the process of making it, hand-delivering the prints to the film’s premiere and declaring it to be a rushed, unfinished job.
Length was a problem for the film, a 90-minute TV pilot expanded to more than two hours, bloated with too many special effects shots. Paramount would subsequently produce an even longer cut of the film, letting ABC screen a super-sized, 143-minute TV version which included deleted and unfinished scenes. (There is a rumor, apparently tied to this forum post from 2016 (via Memory Alpha), which suggests that Wise re-cut the film in 1980 to be 12 minutes shorter, but producer David C. Fein doesn’t believe it to be true.)
The Director’s Edition
Paramount
In 1997, Wise, through his company Robert Wise Productions, enlisted the help of producer David C. Fein, post-production supervisor Michael Matessino and visual effects supervisor Daren R. Dochterman to help fix the film. They examined the original storyboards, fixed some of the more egregious effects choices and tightened the editing. While the runtime was longer, a snappier edit (more or less) helped contextualize some of the choices made back when the film was shooting. It also helped to kickstart the reappraisal of the film as something more valuable than the big-budget catastrophe it was treated as.
Part of that work was to broaden the visual palette, especially in some of the key sequences which weren’t fully-realized in ‘79. The inconsistencies during Spock’s first scene – which were shot in broad daylight but painted on a matte implying darkness – are fixed. Many sets that were constrained even with matte paintings were broadened out and CGI – by pioneers Foundation Imaging – used to fill the gaps in the action. The film remained, more or less, like it had two decades prior, but was a much more joined-up experience on screen.
But this edition, while considered “definitive,” was never re-released beyond its original 2001 DVD printing. According to Memory Alpha, it’s because Paramount never kept its own archive copies of the CGI files for its projects. And when Foundation Imaging went under after the death of its founder, Ron Thornton, it was believed that those files were gone forever.
The Re-Remaster
Paramount
“Completely untrue,” said David C. Fein who produced both the first Directors Edition and its 2022 successor, to Engadget. “Everything was designed to be able to go to film, but the resolution [in those original files] wasn’t there, […] so it couldn’t just be re-rendered,” he said. “It had to be recreated by people who knew what we were going for, because we’re now able to put the detail in for it to be full-size.” “We re-did all the visual effects, not from scratch – the setups [from 1999] were there – then we worked in all of the new levels of technology and information,” said Fein.
Fein says that the project, which was announced in July 2021, is “not a restoration,” and that his team wasn’t just “polishing this film,” but working to tweak it to improve the overall storytelling. That meant scanning the raw material and re-compositing everything to make a fresh, 4K scan off the original 35mm live-action footage. (Douglas Trumbull, to avoid detail loss, would shoot on 65mm film, and so his material was scanned in at 8K, while Dykstra’s VistaVision material was scanned in at 6K.)
The project is, if we’re being a little too honest, long overdue, since Paramount opted to offer the theatrical print of The Motion Picture for all of the Blu-ray releases. “Unfortunately, when the hi-def [versions of the Star Trek films] came out, Bob [Wise] got to watch the fact that it was the original theatrical version,” explained Fein. “And he sat me down in his kitchen and said, ‘I need you to promise me something Dave’ – ‘I don’t care how long it takes, I need you to finish the director’s edition and it needs to be finished,’ meaning film quality.” But Fein says that the lag time was down to a need for the technology to improve, and also for the “guardian angels” at Paramount+ to greenlight the work.
There are a number of small tweaks to the film, designed to smooth out even more of its visual rough edges. Keen-eyed fans will enjoy spotting the additions and changes, an early highlight is the addition of Shuttle Pod 5 to the exterior of Starfleet’s orbital office. “Just about every shot [in the film] has been touched in some way, there’s a lot of subtlety added to shots,” he said. “There’s [also] at least one clearly new shot in the film that helps continuity, and I hope no-one else notices it.”
One sequence that Fein spent lots of effort on, both then and now, was when the V’Ger probe attacks the bridge. The original film sequence was projected through a bent mylar filter with intentionally harsh lighting to create the alien effect. “The way that it looked, was almost like [our] film stopped and another one started,” he explained, looking at the washed-out colors, high grain and poor continuity. Fein credits the power of HDR which enabled his team to create a harsh overexposure of the probe without dulling the rest of the film.
And a less obvious change – unless you’re like me and watched multiple versions side-by-side – is a vastly improved color grade. Because the film was so rushed, Fein explained, the process of color grading, which can take months, was crunched down to four days. He said that the crew’s opinion, at the time, was “just ‘let’s get it done as flat [as we can] so everything matched, and [get it done] as quickly as it could.” The film’s colors are, traditionally, washed out, leaden with that ‘70s sci-fi beige that makes even the actors look like pieces of furniture. “Now that we’re working from negative scans, we’re able to do what [Robert Wise’s] real intention was.”
The final task Fein had to oversee was to ensure that The Directors Edition is no longer a rare curio. Fein explained that, having worked with the digital negatives and produced a new print designed for theatrical distribution, the film is now “future proof.” That should ensure that it never again becomes the sort of film you have to actively seek out to watch. Not to mention that Fathom events will offer a handful of screenings (in select theaters) for viewers to see the film on the big screen once again.
Give me a Good Time
I don’t want to be facetious when I say that The Motion Picture is less of a film and more of an experience. For all of the complaints that the film was slow, antiseptic and cold, it also offers something a little more heavyweight than you may expect from a franchise movie. The team behind the film may not have been making Solaris, or 2001, but those influences are keenly felt through much of the movie. It’s not dumb noisy fun, and it’s not as clever as it thinks it might be, but it’s trying to deal with some weighty issues around what it means to be human. A computer looking to understand if there’s any meaning beyond its existence is something fiction has come back to again and again – it’s always been a fascination for Star Trek, too.
Unfortunately, I didn’t get to watch the 4K transfer in all of its glory, since previews were capped at 1080p (I know). What is obvious, however, is that the new version is a whole lot brighter, with much more detailed CG models and much better sound, in most places. The new color grade makes a huge difference, with actors no longer blending into the background of their own film. There are only a few moments where the transfer seems less kind than you may expect, and that’s mostly when you go looking for matte lines. You can clearly see some of that hand-cut wonkiness in the more detail-heavy sequences, like the drydock scene.
(While we’re on the subject; the Drydock sequence is considered, by non fans, as the ne plus ultra of pointless fan service. Yes, it’s a six-minute scene in which Kirk stares, milky-eyed at the refitted Enterprise, well-known enough that even nü-Trek repeatedly tipsits hat to it. But let’s be honest, if you wanted to spend six minutes staring at a model, you might as well make it the most beautiful model ever to be created.)
And as much as it’s Wise’s name on the film, in these modern eras, I think we should also offer kudos to Trumbull and Dykstra for their contribution. The effects sequences are, for their age, some of the best ever put to film and the trippy late ‘70s sci-fi visuals during the spacewalk sequence are on a par with anything 2001 offered. I can’t not also say that, without Jerry Goldsmith’s score, one of the best ever written, much of this film wouldn’t hold together nearly as well as it does. While the finished product is not to everyone’s taste, you can tell it is the product of a number of virtuosos all working to produce their very best work.
It’s funny, because I’d say that I’ve seen this film more times than I should probably admit, especially the first 40 minutes. Something that only occurred to me during this rewatch is how Wise’s direction, and the acting, loosens up as things go on. Kirk, Spock and McCoy all start this film stiff and stagey, acting like they’re all trying to act under the effects of a sedative. But once they’ve returned to the Enterprise and you see Kirk visibly relax into his chair, Spock and McCoy start bantering, and you could almost frame this as a deliberate choice to make the film a form of origin story.
While researching this piece, I went hunting for critical reviews of the film back when it first debuted in 1979. (The best modern essay on the film, and the best modern essays on any of the Star Trek films, is Darren Franich’s 2016 retrospective, which I urge you to read.) Weirdly, Roger Ebert wrote the smartest take on the film back then, and I reckon the conclusion of his review is probably the most elegant way anyone could discuss it. He wrote, “Some of the early reviews seemed pretty blase, as if the critics didn’t allow themselves to relish the film before racing out to pigeonhole it. My inclination, as I slid down in my seat and the stereo sound surrounded me, was to relax and let the movie give me a good time. I did and it did.”
In a world where most e-bikes are trying to blend in, JackRabbit, well… stands out. In fact, it’s unique enough that you’re either going to love it or at the very least be curious. As a pedal-free e-bike, it’s aimed at those in the market for a scooter…
Washington State legislation guaranteeing pay and benefits for ride-hail workers has become a practical reality. Reutersreports Governor Jay Inslee has signed into law a measure setting minimum pay guarantees of $1.17 per mile and 34 cents per minute, with trips costing at least $3 each. Drivers at Uber, Lyft and other companies will also have benefits like paid sick leave, access to workers’ compensation and family medical leave. They can also appeal if they believe they’ve been unfairly terminated.
The law has garnered support from both labor organizers and companies. The Washington Drivers Union billed it as an “unprecedented victory” that would reverse years of shrinking pay and improve the overall quality of life. Uber said in a statement that the law “decisively” gave drivers the mix of independence and safeguards they were asking for, while Lyft said this was a “win” that emerged when unions, politicians and companies “worked together.”
There are concerns the law strips power away, however. It declares that drivers for ride-hailing apps aren’t employees, potentially limiting access to further benefits and more consistent hours. The law also bars cities and counties from applying additional regulations beyond those in effect. Seattle will still offer higher pay ($1.38 per mile, 59 cents per minute and at least $5.17 per trip), but companies like Uber and Lyft have effectively limited the scope of regulations they might face.
This is still the first state-level law to set pay standards for gig-based rides, though. Until now, only New York City and Seattle had established minimums in the country. This could make ride-hail work viable for considerably more people, and might prompt other states to enact their own guarantees.
I loved the Vita. I have vivid memories of playing Persona 4 Golden for hours in the dark on my dad’s couch in Chicago flying around the world of Gravity Rush from an airplane seat and playing Murasaki Baby before bed. The Vita felt good and it made me happy. And then, Sony killed it.
For the past seven years, I’ve been wondering why the Vita had to die. So today, we’re finally going to grieve and analyze together: What happened to the Vita, and what if it were still around today?
It’s been difficult to not think about the Vita recently. The mobile market is on fire right now, with Valve’s Steam Deck shipping out, the Playdate on its way from Panic, and of course Nintendo’s Switch and Switch Lite at the top of the charts. Not to mention, Microsoft is courting the handheld space with Cloud Gaming and Game Pass, and mobile gaming represents the largest and fastest growing segment in the industry. From consoles to PC, it seems every company is investing in handheld play. Every company except Sony.
To be clear, Sony doesn’t have to compete in the handheld market just because everyone else is doing it, but the tragedy here is they were doing it with the Vita – and as LL Cool J would say, they were doing it well. Even with an embarrassing amount of options in the handheld space, I still want a new Vita. I want one in black and another in a peach colorway; I want the entire back panel to be a touchpad with DualSense-style haptics and I want a little hole in one of the corners so I can attach charms, just like I did on the original. And, charm-hole aside, I don’t think I’m alone here.
Atlus
So, why don’t we all have shiny new Vitas in our hands right now? Basically, I think Sony got scared and scattered, and not necessarily in that order.
The Vita was a commercial failure, but its numbers weren’t completely tragic and there were even bright spots in its sales history. The Vita was an evolution of Sony’s successful PlayStation Portable line, with enhanced input mechanics, an OLED touchscreen and upgraded guts, and it first hit the market at the end of 2011. This was just before the launch of the Wii U, PS4 and Xbox One, and right after Nintendo dropped the 3DS.
As another handheld device, the 3DS is a good comparison point for Vita sales, and it doesn’t end up looking good for Sony. In 2012, Nintendo sold more than 13 million 3DSes, and that same year, Sony sold about 4 million Vitas. Sony stopped reporting Vita sales figures on their own after its first year on the market, and despite a few hardware iterations, the studio stopped building new devices in 2015. Sony essentially wrapped up support for the Vita by 2019, and best estimates place total global hardware sales around 16 million units. The 3DS, meanwhile, is at more than 75 million.
That’s the surface-level analysis, but I think comparing the Vita to the Wii U actually offers more insight into Sony’s mindset at the time, while offering a clear picture of what could have been.
By the beginning of 2013, the Vita and the Wii U were on shockingly similar trajectories. They were both iterations of previous hardware, trying new things and fumbling along the way. Nintendo’s Wii U came out in late 2012 and wasn’t nearly as well-received as its predecessor, the Wii, offering players a bulky gamepad with an uncomfortable UI and crappy battery life. In its five-year lifespan, Nintendo sold about 14 million Wii U consoles – 2 million fewer than the Vita’s estimated total, even.
Here’s where Nintendo and Sony pivoted away from each other. In classic Nintendo fashion, the designers of the Wii U kept their heads down and continued building their vision of a hybrid console. The Wii U wasn’t perfect, but that didn’t mean the entire concept was trash, and Nintendo’s blind focus eventually resulted in the Switch, a console with an emphasis on mobile play. Today, it’s one of the best-selling systems in history.
But where Nintendo chose to stay the course, Sony decided to turn around and go back home. It simply killed the Vita – and I think this was the result of internal turmoil at Sony proper. There was a disconnect in the way Sony marketed the Vita to different regions, and even in the way it explained basic ideas behind the hardware itself – like with its confusing and expensive memory card plan.
Since Sony stopped divulging Vita information early on, I’m using stats compiled by a self-professed data nerd at Kresnik258Gaming for this bit: The Vita sold best in Japan, where it enjoyed a sweeping marketing campaign complete with unique hardware bundles, models and games. The North American audience didn’t get the same attention, with limited advertising, few hardware bundles and only a couple of half-hearted attempts at regional software. By the time the second-generation Vita and Vita TV came out in 2013, Sony seemed barely interested in explaining the benefits of these systems to US and Canadian players, and Redditwasfilled with complaints about the company’s lack of support.
Ovosonico
This regional disparity happens to align with some major managerial shifts at Sony, and a larger change in its approach to players and developers. With the launch of the PS4 in 2013, Sony was on top of the world – interactive entertainment president Jack Tretton obliterated the Xbox One during an iconic E3 show, and once both consoles hit the market, the PS4 emerged as a clear winner in terms of sales numbers. Then, Tretton left Sony in 2014 and Shawn Layden took his place. By this point, the Vita was clearly an afterthought in North America. With Layden at the helm, Sony’s E3 shows took on a more business-oriented tone, and by 2016, it felt like an entirely different company on-stage. And this wasn’t just external: Sony had been saturating its systems with innovative and award-winning indie titles throughout the 2010s, but in 2016, two of the company’s pivotal indie evangelists, Adam Boyes and Nick Suttner, left, and indie developers said they felt abandoned by Sony’s system.
Honestly, it seems like Sony had too much going on internally to properly focus on the Vita, and in the chaos, it lost its sense of experimentation. Since this time, Sony has doubled down on the things it knows, like upgrading its console hardware and releasing first-party games, and it’s simply following the crowd when it comes to things like PlayStation Plus and streaming. I guess PSVR is cool, but it certainly doesn’t have the same impact as the Vita once did.
Or, as the Vita could still have. Imagine if Sony had a sequel to the Vita around today to market alongside the PS5 as a connection point for its streaming ambitions and an attractive hub for developers of all sizes. While Microsoft is busy buying up every mid-tier studio in town, a Vita would offer Sony a chance to collaborate in unique ways with smaller developers, giving the company even more exclusives, the currency of the modern market. We know that players today appreciate a sleek handheld component to their consoles, and Sony could use something to compete with Microsoft’s vast cloud capabilities and funding in R&D. It could use something that Microsoft doesn’t have. PSVR can’t fulfill this role – but Vita totally could.
At least, that’s how I feel. Let me know if I truly am alone here, or if you also want a handheld system from Sony – only rule is, you have to say whether you want the charm hole.
You won’t have to camp in front of a screen the next time you want to take advantage of an imminent Amazon sale. The company has updated Alexa with a Prime-only feature that alerts you to the availability of an Amazon deal up to 24 hours in advance as long as the relevant item is in your cart, saved for later or on your wish list. You can also remind Alexa to notify you when the deal is live, or even have the assistant buy the item when the deal takes effect.
You can enable the feature by leaving products in the relevant lists. If there’s a deal, you’ll see Alexa’s familiar yellow light or pop-up notification.
Access to the deal alerts is relatively limited. Prime customers need to live in the US and use a “newer generation” Echo speaker. Still, this could be helpful if there’s something you really want but refuse to buy at full price — you now just have to wait for Alexa’s heads-up.
Both Samsung and other retailers have offered a few ways to save when picking up one of the latest Galaxy smartphones, including offering a discount on higher storage models during the pre-order window. But Amazon’s back now with a new discount — $100 off the Samsung Galaxy S22, bringing the 128GB model down to $700. The same discount applies to the 256GB versions, which are on sale for $750.
While the Galaxy S22 isn’t a huge departure from last year’s flagship phones, Samsung made some useful changes and welcomed upgrades this year. The handset’s design remains attractive and now has Corning’s Gorilla Glass Victus+ for added protection against drops and scratches. The S22 sports a lovely 6.1-inch 2,340 x 1,080 resolution touchscreen with a 120Hz variable refresh rate and an ultrasonic in-screen fingerprint reader, too. The panel is impressive, reaching up to 1,300 nits of brightness, and the new Vision Booster feature automatically ups things like color saturation and contrast depending on your environment. Plus, the fingerprint reader is really fast, so you’ll never have to wait long for the device to unlock.
The S22’s triple rear camera array takes sharp photos and much-improved images in low-light conditions. Even though we think Samsung’s new Adaptive Pixel feature, which uses multi-frame image capture to combine high-quality pics with lower-res pixel-binned shots to create a final composite image, is a bit overhyped, the S22 still has some of the best cameras you can get on a smartphone at this price.
General performance is stellar as well thanks to the new Qualcomm Snapdragon 8 Gen 1 chip inside the handset. You’re also getting 5G support and a decent battery life. In our testing, the Galaxy S22 lasted just under 15 hours (if battery life is your biggest concern, you’re better off going for the S22+, which lasted about 2.5 hours longer). Overall, if you’re looking to upgrade to a new Android phone, the Galaxy S22 is one of the best out there right now — and it’s even better at this sale price.
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