In 1976, two designers gave the office a chair that moved when you did. The Met calls Emilio Ambasz and Giancarlo Piretti’s Vertebra the first automatically adjustable office chair. Fifty years later, plenty of us still tug knobs and crank levers like we’re docking a spaceship. LiberNovo’s Maxis picks up that old idea and sizes it for bigger frames. Its Black Friday sale opens November 19, with up to 42% off in the US.

The Maxis is LiberNovo’s first line built from the ground up for big and tall users, rated to 399 lbs (181 kg) and certified to BIFMA X5.11, and fitted for people between 5’10” and 6’7″ (178 to 200 cm). Instead of scaling up a standard chair, LiberNovo resized the parts that tend to fail on larger bodies, from the seat depth to the headrest travel. It comes in three versions: Manual, Electric, and Airflow. List prices run $1,299, $1,799, and $1,859, which makes for one big leap and one tiny hop. Let’s walk the staircase one step at a time.

Designer: LiberNovo

Click Here to Buy Now: Black Friday Deals End Soon!

What all three Maxis versions share

Maxis Manual

All three versions of the Maxis share the same big-body frame. The seat is 20.5 inches (52 cm) deep, with a multi-density cushion that runs firmer at the rear and softer at the front edge, where the backs of your thighs rest. The backrest spans 16.9 inches at the shoulders and flares to 20.5 inches at the waist. The U-shaped headrest travels 5.5 inches up and down and 4.7 inches in and out. Arc-shaped armrests open from 15.7 to 23.6 inches wide, so they don’t crowd your waist.

Lean back in a Maxis and the neck support, backrest, armrests, and seat all move together, a many-jointed cousin of the Vertebra’s idea. The eight-panel backrest flexes on 14 dual-link points and 16 ball joints. Six springs engage progressively by angle and weight, which LiberNovo says keeps the recline smooth under a heavier load. Five stops run from 105 degrees (Deep Focus) to 160 degrees (Spine Flow), and LiberNovo suggests 115 to 125 degrees for most of the day. Do the four-step setup once, and LiberNovo says you’ll rarely touch the controls again.

What the $500 step from Manual to Electric adds

Maxis Electric

The Manual keeps lumbar support on a dial, with no motor and no battery, which suits anyone who wants a chair that never needs charging. The Electric swaps that dial for the ErgoPulse motor and carries a 2,200 mAh battery. The motor moves the lumbar zone in or out until it meets your lower back, forming an S-curve, so there’s no reaching behind you to twist a knob. Lumbar is step one of the Maxis setup, so you’ll feel this feature on day one. That’s the first half of what the extra $500 buys.

OmniStretch is the other half, a five-minute motorized stretch sequence that runs while you’re in deep recline. Both the Electric and the Airflow include it, and the Manual skips it. LiberNovo describes it as an in-chair stretch and reset, which makes it a handy pause between long work sessions and the walk to the kitchen. Whether it’s worth a share of $500 depends on how often you’d actually use it. If the honest answer is every afternoon, the math gets friendly fast.

The $60 Airflow upgrade, and how the sale works

Maxis Airflow

The Airflow adds a seat fan to everything the Electric does. A 4,000 RPM centrifugal fan pulls air through a five-layer seat on two levels, and an occupancy sensor pauses it when you stand up, so it never spins for an empty chair. The battery grows from 2,200 to 3,000 mAh, and LiberNovo lists fan noise under 45 dB. The upholstery is Danish Gabriel Atlantic fabric, rated by its maker at more than 100,000 abrasion rubs. At list price, all of that sits $60 above the Electric, which is the easiest call on the page.

LiberNovo’s holiday sale opens November 19 and builds toward Black Friday and Cyber Monday, with up to 42% off in the US. Eligible purchases carry 30-day price protection, so buying early comes with a safety net for qualifying price changes. Every LiberNovo chair is backed by a 6-year frame warranty and a 2-year warranty on electronics. Orders unlock gift tiers by spending, topping out at a travel kit with an inflatable neck pillow, eye mask, and earplugs. US buyers can split the bill into four 0% Klarna payments. Fifty years after the Vertebra, the best pitch for a chair that moves with you is still the simplest: you stop thinking about it.

Click Here to Buy Now: Black Friday Deals End Soon!

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Wired earbuds staged a comeback a couple of years ago, helped by Gen Z deciding a dangling white cable looks cooler than an AirPods case. Wired gaming controllers could use some of that goodwill. 8BitDo’s new Ultimate 3C+ Wired Controller for Xbox skips the battery entirely and plugs straight into your console over USB-C. It costs $39.99, carries an official Xbox license, and brings tunable TMR sticks to the lowest-priced model in the Ultimate 3 family. You trade a little freedom of movement for a controller that never needs charging, pairing, or a panicked hunt for a dongle.

There’s no battery to degrade over years of late-night Call of Duty sessions, and a 3.5mm jack sends game audio straight to your headset. The controller works with Xbox Series X|S, Xbox One, and Windows 10 or later. It arrives a few weeks after the wireless Ultimate 3C+, which launched in October for PC and Android at the same price. The Xbox version is built for console players who would rather never think about charge levels again. The included cable stretches 8.2 feet (2.5m), so measure your couch distance accordingly.

Designer: 8BitDo

TMR sticks you can tune for shooters or racing

8BitDo’s Dual Force Ring sticks combine adjustable tension with a soft-stop silicone ring under each stick to cushion the moment it hits the edge of its travel. Increase the tension if you prefer firmer resistance when aiming in shooters, or loosen it for the long, sweeping inputs of racing games. A 12-bit ADC sampling chip and a 216MHz processor read the stick position, which 8BitDo says improves precision and response. The sensors are TMR, short for tunneling magnetoresistance, and track stick position magnetically, without sliding electrical contacts. Potentiometer sticks rely on contacts that physically wear, which can cause stick drift.

Earlier this year, 8BitDo’s fanciest stick tech lived in controllers costing $99 and up. The Ultimate 3 series kicked off at CES 2026 with the $149.99 Ultimate 3E, and the $99 Ultimate 3 for Xbox brought force rings along in May. Now that adjustable tension sits inside a $39.99 controller with a cable hanging off it. Compare that with Microsoft’s Xbox Nano Controller, a $49.99 pocket pad that still ships with conventional potentiometer sticks. If your last Xbox controller died of drift, that difference in sensor tech may be the most persuasive line on this spec sheet.

Switchable triggers, extra bumpers, and lockable back buttons

A switch flips the triggers between linear Hall Effect mode and short micro-switch mode. Linear gives you the full analog pull for feathering a throttle, while micro-switch turns each trigger into something closer to a mouse click. Impulse Trigger rumble lives inside the triggers, with more vibration tucked into the grips. 8BitDo says a dedicated rapid-stop chip cuts vibration off quickly, so a gunshot’s rumble doesn’t linger. The idea is that when an explosion fades on screen, your palms stop buzzing too.

Two extra bumpers, labeled R4 and L4, join the standard shoulder buttons and can be remapped without software. Two back buttons sit under the grips, and a lock disables them when you would rather not trigger a reload by accident. 8BitDo describes the D-pad as clicky but smooth, says it has refined the ABXY buttons, and lists wear-resistant stick rings. It also widened the grip angle compared with the older Ultimate C Wired, stretching the body to 5.96 inches (151.5mm) long. It weighs 7.9 ounces (224g), just 8 grams more than its predecessor, with the revised grip intended to offer a more relaxed hold.

Ten dollars less than the Xbox Nano

Compared with the wireless 3C+, the Xbox model drops the turbo function and its sibling’s polling rate of up to 1,000Hz. It also skips the cardboard DIY stand that ships in the wireless box, a minor tragedy for anyone who enjoys a little arts and crafts with their unboxing. In return, you get the headphone jack, full Xbox console support, and an official license. Competitive players chasing every millisecond may miss the higher polling rate. For couch play, cable reach is likely to be the more immediate concern.

At $39.99, the 3C+ Wired undercuts the $49.99 Xbox Nano by ten dollars and Microsoft’s standard $64.99 controller by twenty-five. It also costs just $5 more than the older Ultimate C Wired for Xbox, which paired Hall Effect sticks with an RGB light ring. 8BitDo swapped that light show for tunable TMR sticks, which seems a useful trade for anyone more interested in stick feel than desk glow. Pre-orders are live on the 8BitDo eShop and Amazon in the US, with Matcha Green and Charcoal Gray units shipping November 16.

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Hidden around a modern MacBook display are magnets used to tell the laptop you shut the lid. Intricuit, a small hardware startup, looked at those magnets and saw a free mounting system. Its Magic Screen uses them to snap a touch-sensitive glass panel over your display, adding tap, swipe, and pinch controls to the MacBook you already own. It costs $179 on Kickstarter. Apple’s approach is the new MacBook Pro with PROLED XDR Display, which starts at $2,899, or roughly sixteen Magic Screens with change left over for snacks. That’s a whole laptop rather than an accessory, but it’s a steep entry price if touch is all you’re after.

Apple integrates the touch sensor into a tandem OLED panel and uses a stiffer hinge designed to limit screen bounce when you tap it. It also supports zero styluses, Apple Pencil included, which is a little funny coming from the company that sells the Apple Pencil. The Magic Screen ships with a pen that reads 4,096 pressure levels, previews its tip position as it hovers, and supports palm rejection while you draw. Intricuit lists compatibility with M1 and newer MacBook Pros, M2 and newer Airs, and even the $599 MacBook Neo, bringing that last combination to $778.

Designer: Intricuit

Snap, Plug, Tap: How the Glass Registers Your Fingers

The panel is tempered glass with a capacitive digitizer built in, the same kind of touch technology your phone uses, tracking up to ten fingers at once. Intricuit lists transparency at 99% or better and a response time of 8ms. A single USB-C cable carries the touch data and draws a claimed 0.6 watts from your MacBook, so there’s no extra battery to babysit. The 14-inch MacBook Pro version weighs 4.3 ounces (122.8 grams), and the 16-inch version comes in at 6.1 ounces (172.6 grams). Basic touch works without the app; Intricuit’s software for macOS Sonoma or later adds further controls.

Tom’s Guide spent three weeks with a Magic Screen and came away convinced macOS is far more touch-ready than Apple ever let on. Taps open apps, a press-and-hold summons the right-click menu, and familiar trackpad gestures carry over to the glass. Intricuit demos it triggering clips in Resolume Arena, orbiting models in SketchUp, and shoving sticky notes around Miro boards, all situations where reaching for something directly has an obvious appeal. It also works with iPhone Mirroring, letting you tap through your phone’s apps on the larger display. Fingerprints land on the overlay rather than directly on your MacBook’s screen.

The Stylus Apple Skipped Comes in the Box

The included pen uses USI 2.0, the Universal Stylus Initiative standard supported by compatible Chromebooks, and reads 4,096 levels of pressure. That gives you control over line weight, from a light hairline to a fat brushstroke, while palm rejection is designed to let you rest your hand on the glass as you draw. Hover detection starts about 0.4 inches (10mm) away, previewing the tip’s position before it touches down. Intricuit rates the battery at 100 hours, with a 40-minute USB-C recharge and no Bluetooth pairing required. Your Apple Pencil isn’t compatible, though it won’t work on Apple’s new MacBook Pro either.

Pop the Magic Screen off and it becomes a flat pen tablet, a familiar setup for anyone who has used a Wacom. Drawing on an upright laptop screen means working against gravity and a hinge, while laying the panel on a desk lets you rest your arm. The folio case folds into a stand for this mode. When the panel goes back on your display, the case braces against the lid to reduce wobble under your fingers. Apple’s Sidecar offers another route to drawing on a Mac, but requires an iPad and an Apple Pencil alongside the laptop. Intricuit puts the touch panel and pen in one $179 box, provided you already own a compatible MacBook.

What $2,899 Gets You at the Apple Store

Apple’s price buys a complete laptop with a tandem OLED panel rated to peak at 2,000 nits and an integrated touch sensor. The hinge is stiffer, the 14-inch body weighs 3 pounds, and the glowing Apple logo is back on the lid for the nostalgics. That package costs $400 more than the equivalent standard MacBook Pro. The Magic Screen comes with its own compromises: a cable occupying a port and a panel you need to remove before closing the lid. Intricuit built a stopper into the bottom edge to keep the lid from closing onto it, a bit of idiot-proofing that could save an expensive mistake.

The Magic Screen is available for $179 after a successful crowdfunding run, a $60 discount off its planned $239 retail price. Pick your size carefully, since each of the five versions is fitted to a specific MacBook display, and the M1 MacBook Air sits this one out. Each box includes the panel, stylus, folio case, USB-C cable, and a polishing cloth for the inevitable fingerprints.

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Before a pilot flies you to Cancún, they’ve logged hours in a simulator crashing planes that don’t exist. Surgical training has had a harder time getting there, and residents often get thin hands-on practice before working on living patients. Niklas Andreasen, a graduate of Sweden’s Umeå Institute of Design, set out to fix that with MX Surgical, a mixed reality training kit he developed with Logitech. It pairs replica surgical instruments with a headset, so trainees can rehearse procedures anywhere they can open a case. Call it a flight sim for scalpels, and a lot more portable than the six-figure simulator rigs some hospitals bolt to the floor.

Andreasen grouped surgical tools into three mechanical families (ring-handled scissors and clamps, forceps, and pen-grip instruments), then designed one reconfigurable controller for each. Sensors and adjustable resistance mechanics inside recreate how each tool pushes back in your hand, and layered pads give you something to actually cut into. The headset handles the anatomy, while a companion platform scores you on precision, force, and timing like a very strict video game. It’s a concept for now, with no pricing or launch plans. Even so, it has already picked up Emerging Product Designer of the Year at the 2026 European Product Design Awards, three Core77 student wins, and a nomination for Red Dot’s Peter Zec Prize.

Designer: Niklas Andreasen (Umeå Institute of Design, in collaboration with Logitech)

Three Controllers, One Entire Instrument Tray

A real surgical tray can hold dozens of instruments, and building a replica of each one would turn the kit into a hardware store. Andreasen sidestepped that by mapping what instruments have in common mechanically. Scissors, needle holders, and clamps all pivot on a ring-handled scissor action. Forceps pinch, and scalpels and probes ride in a pen grip. Each MX Surgical controller covers one of those families, tuning its spring tension and range of motion in real time so the same body can feel like a fine dissecting scissor one minute and a stiff clamp the next.

Logitech has spent over four decades shaping mice, keyboards, and controllers around human hands, and the collaboration shows. The kit wears the MX family’s soft radii and matte warm grays, so anyone who owns Logitech’s MX Ink stylus for Meta Quest will feel right at home. Three mentors from Logitech, Nick Jinkinson, Andreas Connellan, and Aidan Kehoe, guided the project. The cutaway renders show a rotary mechanism tucked right at the pivot, where the resistance needs to happen, inside ring handles your fingers already know from the real tool. Compare that with FundamentalXR, a leading haptic surgical platform that has traditionally relied on desk-mounted haptic arms.

Layered Pads Handle the Feel, the Headset Handles the Gore

Haptics can only fake so much, so MX Surgical gives your hands something physical to work on. Layered training pads stand in for tissue at different depths, and they slot into a die-cut tray inside the case. As you work through a procedure, the mixed reality overlay progressively reveals deeper layers of anatomy and shifts to match what you’re doing. Hospitals and universities can stock a material library of swappable pads and components, tailoring the kit to a specialty or a specific case. Residents without a headset aren’t stuck either, because a simpler screen-based version handles the visual side.

This hybrid approach borrows from both ends of current surgical training. On one end are cheap suturing pads that residents practice stitches on at home, which feel real but teach nothing about context. On the other end are VR simulations that show you an entire operating room but feel like waving a remote around. MX Surgical splits the job, letting the pad handle touch and the headset handle everything you need to see. The whole thing packs into a slim carry case, which makes it something you can take home, practice with at 11pm, and toss in a bag for your next rotation.

A Scorecard for Skills Surgeons Used to Pick Up by Osmosis

Every practice session gets logged by the companion platform, which tracks motor patterns, motion efficiency, accuracy, force control, and response timing. Those numbers describe the stuff a senior surgeon notices from across the room, like a hand that hesitates or grips too hard. The platform adjusts difficulty as you improve, keeps a digital anatomy atlas on hand, and lets mentors review your sessions remotely. Residents can train alone or in teams, then sit down with an attending to go through the results together. Andreasen’s own framing is that this data captures knowledge residency has always passed down person to person without ever writing it down.

That puts MX Surgical in direct conversation with William Halsted, who founded the surgical residency program at Johns Hopkins in 1890 around a simple motto: see one, do one, teach one. A century later, a design student added a fourth step, practice one, and made it look like something that belongs next to your keyboard. Andreasen built it through interviews and observation sessions with surgeons and educators in Sweden and Germany, with mentors from Logitech, Intuitive Surgical, and IDEO. In a Red Dot interview, he said he looks for ideas that “earn and defend their place.” A kit that lets a resident make their first mistake on a pad instead of a person sounds like one of those ideas.

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The PlayStation 5 is having a wild autumn. Modders have cracked it wide open, and people are now hauling Steam games onto the console and PS5 games onto their PCs, like two neighbors who swapped houses just to see what happens. Meanwhile, an eBay seller called arcadeplug has gone in the opposite direction, building a PlayStation-themed bartop arcade cabinet that plays the original PS1 library old-school style, standing up with a joystick in hand. It runs on a Raspberry Pi 4 with RetroPie, uses a 19-inch screen, and costs $1,029.99. Sony never made this machine. Somebody with a lot of vinyl and a free weekend decided the universe needed it anyway.

I’ll admit the first photo got me. The gray body, the four-color PS logo on the side, and the glowing triangle, circle, cross, and square buttons hit the same part of my brain that still remembers the PS1 boot-up sound. It’s a fan build in official-looking clothes, and the clothes are excellent. The funny part is the history, because PlayStation hardware actually powered ’90s arcade cabinets, running Tekken on Namco’s System 11 board months before the console launched. Those machines wore other companies’ art. This one wears Sony’s art with zero Sony hardware inside, which is a deliciously backwards way to close the loop.

Designer: arcadeplug

Sony Snuck the PlayStation Into Arcades Before It Hit Living Rooms

Tekken’s road to the arcade ran through a 1993 meeting where Sony’s Ken Kutaragi walked Namco’s Shegeichi Nakamura through the early PlayStation specs. Namco had been building Tekken for its pricey System 22 board, a machine meant to slug it out with Sega’s Virtua Fighter 2. After that meeting, the project moved to System 11, a cheaper board built on PlayStation architecture. The plan was simple economics, leaving Sega the big arcades while Tekken chased the smaller ones that couldn’t afford premium hardware. Bringing the game home was easy, since the arcade board and the console were basically siblings. An upgraded System 12 followed, debuting with Tekken 3 in March 1997.

Sony also built its own arcade boards, the ZN-1 and ZN-2, and handed them to studios like Capcom, Taito, and Tecmo. Street Fighter EX, Battle Arena Toshinden 2, and Tetris: The Grand Master all ran on PlayStation-derived silicon, though nothing on the cabinets told you so. Sony kept the boards unbranded, letting each publisher put its own name and art on the outside. My favorite slip comes from Acclaim, whose NBA Jam Extreme manual casually calls it the “Sony Play Station Arcade Board.” Sony’s arcade boards were PlayStations in disguise. This cabinet is the disguise with no PlayStation inside.

Why the PS1’s Graphic Design Looks This Good Blown Up

Teiyu Goto, the designer behind the original PlayStation and its controller, picked shapes for the face buttons because every rival was using letters. Each shape carried a meaning, with the circle and cross standing for yes and no, the triangle for a viewpoint, and the square for a sheet of paper or a menu. He gave them colors too, and had to convince management that the red circle and blue cross were intentional. Three decades later, those four shapes work as a logo in their own right. On this cabinet, they sit on translucent arcade buttons lit from within, and you can read them from across the room.

Manabu Sakamoto’s 1994 PS logo takes over the side panels, printed big enough to study how it works. Sakamoto wanted the mark to suggest 3D without simply adding thickness, so he stood the P upright and laid the S flat behind it, using four primary colors. At cabinet scale, that illusion of depth looks better than it ever did on a console lid. The body borrows the PS1’s light gray, and a ring around the center of the control panel frames another PS logo, which reads to me like a nod to the original console’s round disc lid. All of it is laminated vinyl, and it sells the fantasy completely.

A Raspberry Pi, Six Buttons, and a $1,029.99 Price Tag

Inside sits a Raspberry Pi 4 with a 128GB build running RetroPie, the open-source software that bundles emulators for the Pi. Games play out on a 19-inch LCD, backed by a pair of 4-inch speakers, Sanwa-clone joysticks and buttons, and LED lighting throughout. Each player gets one stick and six buttons, the four PlayStation symbols plus an L and an R. That layout drops the original controller’s second pair of shoulder buttons, which suits Tekken and Street Fighter Alpha far better than a 40-hour Final Fantasy run. You’ll also be standing the whole time, which feels right for a fighter and slightly brutal for a JRPG.

On eBay, the Custom PlayStation Multicade cabinet goes for $1,029.99 or best offer, shipping from Ohio with a one-year warranty covering the speakers, buttons, and Pi. For scale, Arcade1Up’s licensed Street Fighter II cabinets run roughly $350 to $650, and a SuperStation One FPGA console costs about $210 to $250 if you just want PS1 games on a TV. Neither comes dressed like this, though. The timing makes me smile, because Sony is ending physical game disc production in 2028, and here’s a shrine to the console that made CDs the default for a generation. Modders are prying the PS5 open to see what it can become. Somebody in Ohio gave the PS1 the arcade cabinet it never had.

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My first apartment had a living room wall the size of a parking space and a TV budget the size of a parking ticket. Had the Optoma Photon Life PK31 existed back then, I would have eaten instant noodles for a month to buy it. This 4K projector can cast an image up to 150 inches, and it currently sells for around $599, which is what you’d pay for a decent midrange Android phone. One gives you a 6-inch screen. The other fills a wall, and I know which one my 25-year-old self would’ve picked.

The PK31 is a compact, 5.2-pound projector that looks more like a smart speaker than the beige AV boxes projectors used to be. A smooth top shell sits over a textured matte body, a perforated grille wraps around the side, and the lens sits inside a deep circular cowl. It uses a Texas Instruments DLP chip and an RGB LED light source, with claimed coverage of 95% of the DCI-P3 color space. At a rated 900 lumens, it’s best suited to a dark room. Input lag is rated as low as 4.6ms, though that’s at 1080p and 240Hz, not 4K.

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A Projector Built to Live on Your Bookshelf

The body measures 9.37 x 8.46 x 4.64 inches (238 x 215 x 118 mm), roughly the footprint of a hardcover cookbook lying flat. That lets it sit on a shelf between the plants and the Bluetooth speaker without looking like it wandered in from a conference room. Optoma prints its logo in copper on the top panel, a small, warm accent against the all-black body. Every port sits inside a recessed panel on the back, keeping connections out of sight from the front. The grille wraps around the side, helping the cooling vents blend into the textured body.

The lens sits off to the right, balanced on the left by a pill-shaped window for the IR receiver, giving the front a friendly, slightly lopsided face. Its 1.5 to 1.65 throw ratio translates to about 11 feet (3.4 meters) of distance for a 100-inch picture. The full 150 inches needs roughly 17 feet (5.2 meters), so this suits a long living room better than a cramped studio. Focus and the 1.1x zoom use manual rings, and a twist-adjust foot handles tilt. A standard tripod thread underneath adds mounting flexibility, while four-corner correction and a warp tool help adjust the image to an uneven wall or an inflatable backyard screen.

Sharp 4K and Low-Lag Gaming

The 0.47-inch Texas Instruments chip uses microscopic mirrors to direct light toward the screen. XPR pixel shifting shifts the projected image by fractions of a pixel to produce a 3840 x 2160 picture. Separate red, green, and blue LEDs handle color, and the projector supports HDR10 and HLG. Projector Reviews measured 862 lumens in the brightest mode, close to Optoma’s 900-lumen rating. The reviewer also rated its color as good as or better than that of any RGB LED compact projector he’d tested.

That review recommends about 90 inches for everyday content and 75 to 80 inches for HDR, so don’t expect the same brightness at the maximum 150-inch size. Gamers get the bigger surprise. Input lag, the delay between a button press and the corresponding action on screen, is rated at 4.6ms at 1080p and 240Hz, 8ms at 1080p and 120Hz, and 16ms at 4K and 60Hz. The reviewer’s lag tester confirmed those figures. One catch: low-latency mode disables keystone correction, so line the projector up straight before the boss fight.

How It Stacks Up Against TCL, BenQ, and Hisense

TCL sells a smart projector for considerably less: the TCL C1 normally goes for about $250 with Google TV, Wi-Fi, and Bluetooth built in. The fine print says 1080p, though, and its “4K support” means it accepts a 4K signal and scales it down. The PK31 produces a 4K image but skips the smart OS, Wi-Fi, and Bluetooth entirely. Its single HDMI 2.0 port takes a Roku or Fire TV Stick, and the USB-A port can supply power to it, letting the setup run from one wall outlet. A 5W mono speaker provides onboard audio, and a 3.5mm jack connects external speakers for movie night.

Another 4K option is the BenQ GP520, a cube-shaped projector with a higher 2,600-lumen rating and Google TV. It launched at $1,499 and now has a street price closer to $999. Optoma’s own PK32 adds an amber LED, autofocus, and two HDMI ports for $1,299, while the Hisense M2 Pro costs the same with Android TV on board. The PK31 launched at $1,099 and now sells for about $599 at Walmart and Amazon. At that price, you could add a streaming stick and still spend considerably less than you would on those three.

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Fujifilm celebrated the QuickSnap’s 40th birthday this year the way any responsible camera company would, by announcing new models. The QuickSnap Black and White ($22.90) and the waterproof QuickSnap Active ($24.75) are due this fall, marking the first time Fujifilm has loaded black-and-white film into a QuickSnap. One LEGO Ideas builder took a different approach to the celebration, reaching for green, black, red, and white bricks to rebuild the Japanese version at full size. Of the two birthday presents, I know which one hits the nostalgia button harder.

That builder is MarshallThrilledLobster, and the subject is the Simple Ace, known in Japan as Utsurundesu, which roughly means “It takes pictures!” The name came from a Fujifilm employee who blurted it out when someone asked whether the camera would really work. It might be the best product naming story in camera history. The LEGO version sits at 1:1 scale, comes with a full-size brick replica of its retail box, and packs a few working details. Fujifilm designed the original cameras to be collected after use, taken apart, and rebuilt, making them a fitting subject for LEGO.

Designer: MarshallThrilledLobster

A 1:1 Simple Ace, Right Down to the Clicking Wheel

The real Simple Ace measures 4.25 by 2.1 by 1.3 inches (108 by 54 by 34mm), and this build recreates it at full size. That works out to 13.5 studs across, an awkward number that helps explain why so much of the build runs sideways using SNOT (studs not on top) techniques. The green body wears its red and white stripes, with a domed black lens right where your finger used to block every third shot. Up top, a half-buried Technic gear stands in for the winding wheel. Turn it and it clicks, like advancing a fresh frame.

The viewfinder is a clear tunnel that lines up front to back, so you can actually squint through it. That’s more faithful than it sounds, since the real camera uses a simple reverse-Galilean plastic finder, essentially a tunnel with two lenses. A strap loop is worked into the side of the shell, and the outer surfaces are tiled smooth with no exposed studs. The result reads as molded plastic from across the room. Only up close do the seams give away that this camera came out of a parts bin.

The Box Gets the Brick Treatment Too

My favorite detail, though, is the packaging. The builder recreated the Simple Ace’s tall retail box at full size, with the 写ルンです logo rendered in blocky pixel lettering and barcode details built from black and white tiles. Stand it next to the camera and you’ve got a Tokyo convenience store shelf on your desk. It doubles as a display stand, giving the small camera some height and context. For anyone who grew up with these, the box is half the memory, since tearing it open meant the vacation had officially started.

Packaging as an accessory has precedent in LEGO Ideas. The Polaroid OneStep SX-70, which started as a fan build by Marc of Minibrick Productions, became set 21345 in 2024 with a buildable film pack and three illustrated photos. That set established a precedent for collaborating with a real camera brand, while this QuickSnap remains a fan proposal. A full-size retail box goes further than a film pack, giving Fujifilm’s graphic design the same care as its industrial design. That feels right for packaging this recognizable in Japan.

A Disposable Built for Second Lives, Now Up for a Vote

Fujifilm opened a QuickSnap recycling center in 1988, just two years after the camera launched. By 1998, it was running an automated factory that disassembled returned cameras, inspected the parts, and built new cameras from them. In the US today, up to 60% of each QuickSnap is made with reused camera materials. The builder frames the project around that idea: a so-called disposable product designed for a second life. LEGO bricks have been taken apart and rebuilt since 1958, though their next life might be a spaceship.

The Fujifilm QuickSnap build went live on LEGO Ideas on November 6 and has 105 supporters as of this writing, with 425 days left to reach the 1,000-supporter milestone. Fans submit builds, and projects that reach 10,000 supporters get reviewed by LEGO for an official set. That’s a long climb for a camera most people know as a $20 impulse buy. If you’ve got a shoebox of fuzzy prints somewhere, head to the LEGO Ideas page and give it your vote. It’s the one QuickSnap you’ll never have to drop off at the lab.

The post This LEGO Fujifilm Quicksnap is a 1:1 tribute to the camera on its 40th anniversary (box included!) first appeared on Yanko Design.

Installing a jetted tub usually means a new tub, a plumber, a dedicated electrical circuit, and some tile you never planned on replacing. That’s a lot of renovation for the simple pleasure of moving water. WAVORA’s Z1 shrinks the whole idea into a cordless puck that fits in your palm and suction-mounts inside the tub you already own. It’s roughly a hockey puck’s chubbier cousin, and it runs on a rechargeable battery, so there’s no cord dangling over the edge or near the water. Think of it as a jetted tub’s greatest hit with the remodel left out.

WAVORA, a Louisville, Kentucky brand, sealed the Z1’s motor away from the bath water entirely, so there’s no spinning shaft poking through a rubber seal and waiting to leak. Most compact pumps use a rotating shaft that passes through the housing, guarded by a dynamic seal that rubs and wears every time the motor spins. The Z1 separates the drive from the transmission and closes everything up with static seals, which have no moving surfaces to grind down. The surrounding water doubles as coolant, pulling heat off the housing while it runs, which is a neat bit of free engineering. Your bath, in other words, is also the radiator.

Designer: WAVORA

Click Here to Buy Now: $129 $235 (45% off) Hurry! Only 6 days left.

A Grapefruit-Sized Jet That Mounts on the Wall or the Floor

The Z1 measures 4.3 by 3.5 inches (109 x 89mm) and weighs about 19 ounces (545g), which puts it in medium-sized citric fruit territory. Its form is a soft, cream-white drum with a slatted grille where the water exits and two control buttons on its flank. Small indicator LEDs glow through the shell, so you can check the setting without fishing the thing out. Most cordless bath jets on Amazon are taller cylinders with swiveling nozzles, and they tend to look like pool equipment. The Z1 reads closer to a diffuser or a candle, which helps when it’s sitting on a shelf between soaks.

A double-sided suction mount does the holding, sticking to the tub on one face and the Z1 on the other. It grips best on smooth, non-porous surfaces, which covers acrylic, enamel, glass, polished stainless steel, and glazed tile, so most American tubs qualify. Mount it on the side wall and you get a directional stream that sweeps across the tub like a classic jet aimed at your back. Set it on the floor and the water pushes upward through the bath instead, closer to a spring welling up from below. Swapping between the two takes seconds, which means you pick where the movement starts every night, something a built-in jet can never do.

Three Flow Modes and Up to Five Hours Per Charge

Gentle Flow keeps a soft, steady current moving around you, perfect for a bath with a book in one hand. Power Flow cranks up circulation and shoves water and existing bath foam around the whole tub, which is the setting for sore legs after a long run. Spa Rhythm pulses the intensity up and down in waves, mimicking the ebb and surge of a proper spa jet. One button cycles through all three, so switching moods doesn’t require reading a manual with wet hands. The Z1 moves water rather than injecting air, so the fizzy, aerated feel of a whirlpool comes from your bath bombs, which the launch bundle conveniently includes.

Gentle Flow runs for up to five hours on one charge, Power Flow for about two, and the pulsing Spa Rhythm for around an hour. Five hours in the gentlest mode covers several evening soaks before you need to think about a cable, unless you’re the type who refills the hot water three times. Charging happens over the included USB cable outside the tub, so the only thing near the water is a sealed puck on battery power. Being cordless also frees the Z1 from the nearest outlet, which in most bathrooms sits over by the sink. Corded rivals solve that with a 13-foot cable, which is a lot of wire to drape around a tub of water.

An Outlet You Can Rinse in the Sink, and a $129 Launch Price

Built-in jets have a reputation, and anyone who has fired one up after months of disuse has seen the flakes that come out of the plumbing. The Z1’s outlet section detaches completely, so hair, petals, and bath bomb debris get rinsed out at the sink instead of building up inside. Smaller snags come off by hand without removing anything. The entire water path lives inside a body you can hold under a faucet, so there’s no hidden pipework for gunk to colonize. Budget bath jets on Amazon run about $30 to $70, and their swiveling nozzle assemblies offer more nooks for that gunk to settle into.

The Z1 launches at $129 in a Spa Ritual Set, against a $235 MSRP, bundled with a USB charging cable, the double-sided suction mount, and a manual. WAVORA throws in six botanical bath bombs, six bath liners, and a mesh pouch, which turns the box into a ready-made gift. A single cream-white finish appears across the launch materials, with no other colors announced. Orders ship worldwide, including the US, with delivery estimated for January 2027. WAVORA hasn’t listed warranty terms yet, so check the product page before ordering. That’s a jetted tub’s worth of moving water for the price of a nice dinner, and the tile gets to stay exactly where it is.

Click Here to Buy Now: $129 $235 (45% off) Hurry! Only 6 days left.

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In 1999, LEGO sold an official McDonald’s restaurant brickset through its Shop at Home catalog in the US, and it was adorably tiny. Set 3438 used 98 pieces to build a little drive-through window, a car, and an umbrella table, with stickers doing most of the branding work. The employee was basically a standard LEGO chef with the logo slapped on his chest. One collector paid $75 for a sealed copy back in 2011, for a set that cost around ten bucks new. Twenty-seven years later, a fan builder thinks the next LEGO McDonald’s should skip the building entirely and go straight for the food.

Called McDonald’s Menu, brickbybrick_’s LEGO Ideas submission rebuilds a classic combo big enough to hold its own on a shelf. There’s a red tray with giant Golden Arches in the middle, a cheeseburger, a red carton overflowing with fries, and a white cup loaded with transparent ice and a striped straw. Zero minifigures, zero drive-through, all lunch. The project went up on October 29 and is already sitting at 1,440 supporters, which tells me a lot of AFOLs (adult fans of LEGO) are hungry. I’m one of them, and I’m writing this before lunch.

Designer: brickbybrick_

Red plates form the tray, finished with a raised, rounded rim and a handle at each end, so it reads as molded plastic instead of a stack of bricks. A big yellow set of Golden Arches sits dead center, breaking up what would otherwise be a whole lot of red. The food is arranged in the classic triangle: burger front left, cup at the back, fries off to the right. It’s the exact layout you’d find on any table at your local McDonald’s around noon. That framing makes the build look like a meal someone just set down, which is half the fun of it.

The cheeseburger starts with a dome of tan curved elements, smooth on top like a plain hamburger bun. Under it sits a red layer that reads as tomato, then bright green leaf pieces fanning out as lettuce, a slice of yellow cheese, and a dark brown patty. Those leaves are a nice bit of NPU (nice part usage, for the uninitiated), taking foliage meant for LEGO gardens and jungles and turning it into a salad. Each layer sticks out at slightly uneven angles, giving the burger that freshly squished look of something just pulled from its wrapper. Real fast food never comes perfectly stacked, and this one looks like it survived a lunch rush.

A pile of yellow plates and bricks spills out of the red fry carton at every angle, some standing tall and some flopped over the edge the way the last few always are. The carton gets the real thing’s shape right, the one McDonald’s introduced in 1970 with a wide mouth for quick scooping and a profile that keeps the fries from falling out. The Golden Arches appear on its face in yellow, the same red-and-yellow combo that has been selling fries for over five decades. Building fries in LEGO is easy, but making them look casually messy takes real effort. My only complaint is that I can’t salt them.

My favorite detail, though, is the drink. The white cup’s top is left open, showing a load of transparent pieces packed in as ice, with a red-and-white striped straw sticking out at a jaunty angle. That straw does three jobs at once. It gives the composition its tallest point, adds a splash of red to an otherwise white element, and nods to a real McDonald’s quirk, since the chain says its straws are slightly wider than average so more Coke hits your taste buds. The ice tells its own story, because McDonald’s pre-chills its syrup and sets the ratio expecting the ice to melt. Leaving the lid off is what lets you see all of it.

Back in 2021, adammark’s McDonald’s Franchise 1955-1969, a walk-up burger stand with a Speedee System kitchen, hit 10,000 supporters and reached the Third 2021 Review. It was one of 36 projects in that round, and Hocus Pocus ended up as the only one approved. brickbybrick_ takes a different route, shrinking the subject from a restaurant down to a single meal sized for a shelf. The build is unlicensed, so those Golden Arches are a fan’s tribute, and any official version would need McDonald’s on board. The two companies have teamed up before, going back to LEGO’s first Happy Meal promotion in 1983, so the precedent exists.

McDonald’s Menu currently has 1,440 supporters and 599 days left to reach its next milestone of 5,000. LEGO Ideas runs on community momentum: fans submit their builds, supporters rally behind the ones they love, and projects that hit 10,000 get reviewed by LEGO for a shot at becoming real sets. It’s a long climb for a lunch order, but every Ideas set on store shelves started at zero votes. If you’d like to see this combo in a box, head to the LEGO Ideas page and give it your vote. Personally, I’m holding out for a Super Size edition, which McDonald’s retired in 2004 but LEGO is more than welcome to bring back.

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Tesla is pulling the plug on the Cybertruck, and the official reason involves real estate. Elon Musk posted on X on November 6 that production at Gigafactory Texas will wind down around the middle of 2027 to make room for more Cybercab production. That would be a reasonable explanation if Giga Texas were a studio apartment. The factory has more than 10 million square feet (roughly 929,000 square meters) of floor space, and the Cybertruck line has been running at a fraction of its installed capacity. Call it the most polite breakup text in automotive history.

The less polite version is that nobody’s buying it. Electrek estimates Tesla is moving around 30,000 Cybertrucks a year on a line built for 250,000, and Cox Automotive counts just 11,586 US sales through the first nine months of 2026. This is the same truck that debuted in 2019 with a promised $39,900 price tag and a pair of freshly shattered “Armor Glass” windows. Back then I called it a Toblerone on wheels, and being right seven years later brings me zero joy. Okay, maybe a little. The truck peaked on a stage in 2019, and nothing it did on the road ever topped that.

Price cuts, price hikes, and a convenient excuse

A cheaper rear-wheel-drive Cybertruck launched in 2025 and vanished within months, setting the tone for two years of Tesla trying one pricing strategy after another. A more affordable dual-motor trim reached customers this summer, then Tesla raised prices by $5,000 in August, putting that version at $74,990. Some of the most dependable demand came from inside the family, with S&P Global Mobility data showing SpaceX bought 1,279 Cybertrucks in the last quarter of 2025. Musk’s companies accounted for roughly 19% of US Cybertruck registrations that quarter. When your rocket company is one of your best customers, the truck has a demand problem.

Tesla used the same “make room” framing earlier this year, when it ended Model S and Model X production to free up its Fremont factory for Optimus humanoid robots. Retiring a product sounds a lot better when it’s framed as making space for the future. The Cybertruck’s exit also leaves plenty unanswered: no firm end date, no word on outstanding orders, and nothing yet on parts and service for existing owners. Tesla hadn’t responded to Gizmodo’s request for comment, either. The closest thing to an official goodbye came from lead engineer Wes Morrill, who posted that the truck “lives on through Cybercab.” Engineers write better eulogies than CEOs, apparently.

A mood board of movie cars met a real winter

The Cybertruck’s problems started on the mood board. A photo Walter Isaacson shared from Tesla’s design studio shows a wall of film and game vehicles, including James Bond’s submarine Lotus Esprit and the Back to the Future DeLorean, and Musk has openly credited Blade Runner as a major influence. Movie cars only have to look incredible for the length of a shot. Chief designer Franz von Holzhausen later conceded that most of the studio hated the final faceted shape, and Musk shot down every attempt to soften it, famously declaring he doesn’t do focus groups. One man’s taste beat an entire design team, and the market eventually sided with the team.

In early 2024, owners in rain-soaked California started posting photos of orange rust specks on their stainless panels after just a couple of days of driving. Morrill blamed surface contamination that cleans right off, which is technically reassuring and terrible marketing for a truck sold as indestructible. A year later, Tesla recalled 46,096 trucks because a stainless trim panel called the cant rail, bonded with structural adhesive, could delaminate and detach. Owners had reported failures in cold weather. In between, 3,878 trucks were recalled because an unapproved dab of soap during assembly let the accelerator pedal pad slip loose and get trapped in the trim. Armor, it turns out, still depends on glue.

The Cybertruck became a statement about its creator

No other Tesla carried Elon Musk’s fingerprints like the Cybertruck. The Model 3 is a mainstream sedan, while the Cybertruck was one person’s vision, pushed through over his own design studio’s objections. That made it the most personal object Tesla ever sold, and its meaning shifted with its creator’s public image. As Musk became one of the most polarizing figures in American politics, buying a Cybertruck started reading as a political statement. One Yahoo Finance commentator put it bluntly, calling it a middle finger on four wheels. Tesla even tried controlling who owned one, briefly threatening early buyers with a $50,000 penalty for flipping their trucks.

A Yale study put a number on that effect, estimating Musk’s “polarizing and partisan actions” cost Tesla between 1 million and 1.26 million US sales from October 2022 to April 2025. Rival EV and hybrid makers saw their sales rise 17% to 22% over the same stretch. CleanTechnica argued the headline figure was far too high, while agreeing that the partisan effect was real. Federal Election Commission data also shows Musk as the 2026 midterm cycle’s biggest individual donor, at roughly $446 million to Republican-aligned groups. That money came from his own pocket, and the Cybertruck got its end date three days after Election Day. A car built as a personal statement eventually gets judged as one.

The engineering lives on in Cybercab, and so does the playbook

The Cybertruck did introduce some significant engineering changes for Tesla, starting with the company’s first 800-volt architecture. Higher voltage means less current for the same power, which can allow thinner cables and faster charging. It also swapped the industry-standard 12-volt low-voltage system for a 48-volt one, reducing wiring requirements. Its steer-by-wire setup eliminated the mechanical steering connection entirely, a first for a production car and something even the Infiniti Q50 retained as a backup. Morrill’s farewell points straight at the Cybercab, the gold two-seat robotaxi with no steering wheel, pedals, or mirrors that Tesla started building in April. The truck basically served as a very large, very shiny test bench.

Last month, Tesla unveiled a new Roadster with cold-gas thrusters, asking for $50,000 deposits for the Performance version and $250,000 for the Thrust version, under a reservation agreement that says Tesla can’t guarantee when, or if, the car will be delivered. That’s nine years after Tesla first took deposits on a next-gen Roadster that never shipped. The Semi, unveiled that same year with production promised for 2019, only reached volume production this September, and the Cybercab is already facing two NHTSA reviews. Back in 2019, I wrote that the only number that would matter for the Cybertruck was its sales. I’d like to think Elon’s announcement is the proof I was looking for.

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Picture a blender with a stovetop hidden in its base, so it can turn soybeans into hot soy milk or rice into congee without you touching a pot. Heated blenders like this are a breakfast staple across China, and most share one annoying flaw: the drink comes out scalding, leaving you to blow on it like it owes you money. Midea’s Fully Automatic Air Flow Blender targets that wait with an airflow system designed to help with both cooking and cooling. Midea claims it brings drinks down to 131°F (55°C) within five minutes of finishing. That’s roughly where breakfast stops being a dare and starts being breakfast.

The machine comes from Guangdong Midea Consumer Electric, with a design team led by Peng Xi and Wang Jin, and it received a Red Dot Award: Design Concept 2026 in the Ready for Market track. That track recognizes near-finished products that haven’t reached shelves, judged partly on whether they can realistically ship within a year. Midea says the airflow lets the motor blend at full power without soy milk foaming over. A built-in water tank sits alongside the blending jar, and the linen-textured shell looks ready for a Scandinavian café. The Chinese-language interface suggests a launch in China first, though there’s no word yet on US availability.

Designers: Peng Xi, Wang Jin, Li Qianlun, Jo Jeongmin, Ru Guanhong & Wang Xingzhe

Soybeans contain saponins, compounds that contribute to soy milk’s bubble-bath foam when heated. Heated blenders typically manage this by blending in short bursts and pausing the heat to keep the foam from reaching the lid. That stop-start rhythm helps explain why a batch of soy milk on Midea’s existing machines takes around 30 minutes. The company credits its airflow system with cutting prep time in half, though it hasn’t detailed how the system controls foam.

A freshly cooked batch of soy milk or congee can come out near 212°F (100°C), then sit in the jar cooling a degree at a time while you wait. Midea’s existing heated blenders hold drinks at 131°F (55°C) on keep-warm for up to six hours, so the target is familiar territory for the brand. The new machine’s trick is getting there fast: Midea says cooling takes about five minutes. That’s roughly the time it takes to find your shoes and your keys. Paired with overnight scheduling, it could have freshly made soy milk ready to drink when you wake up.

Visually, the appliance splits into two towers that share a figure-eight footprint. On the left, a linen-textured column holds a water tank that lifts straight out from the top, with a corrugated grip that echoes the ribbed base beneath the glass jar. On the right, the jar wears a copper-colored lid ring that appears to double as a status light. Midea’s description of the surface as a linen texture suggests a molded finish rather than real cloth, a sensible call next to a jar of hot congee. The touch panel flips up for easier reading and carries illustrated buttons for soy milk, juices and milkshakes, porridges, and cleaning, including one porridge program labeled for better sleep.

The closest thing US readers will recognize is the Ninja Foodi Cold & Hot Blender, which pairs an 800-watt heating element with a 64-ounce glass pitcher and sells for around $200 at Walmart. It can cook soup from raw ingredients, but you’re still the one pouring in water and waiting for everything to cool. Midea’s pitch is to automate more of that work, drawing water from the built-in tank and offering a high-temperature wash and drying cycle through the menu. The tank will still need refilling, of course. There’s no price or US release date yet, so this one stays on the wishlist.

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Hollywood loves a sequel, and so does the watch world, though watch sequels trade explosions and cameos for colorways. Nubeo’s Ecliptic Retrograde Dual Time first landed in October 2024, and the square-cased space watch is back for 2026 in six new colorways, from the blue-strapped Firewater Blue to the moodily named Steel Phantom. The core recipe stays put: a 45mm steel case, a matte black dial, and a second time zone displayed by a hand that sweeps a retrograde arc before snapping back to zero.

That hand crawls from 0 to 24 across the lower dial, then flies back to the start like it just remembered it left the stove on. Nubeo pairs it with a big date, a 24-hour subdial, and a caseback engraved with the sun, Earth, and the ecliptic plane. That last detail explains the name, since the ecliptic is the path the sun appears to trace across our sky over a year. Every colorway runs on a Japanese quartz movement and lists for $250, with an advertised 20% launch discount bringing it to $200.

Designer: Nubeo

A Dial Built Like a Spacecraft Control Panel

Nubeo stacks this dial in layers, starting with a matte black honeycomb mesh at the base. A raised chapter ring sits above it with a printed 05 to 55 minute track, while an oversized applied 12 anchors the top. The 24-hour subdial sits near 9 o’clock, the framed date window is at 4, and the dual time arc wraps across the bottom third. Applied indices and hands carry Japanese lume for low-light visibility. Each colorway also changes the accents on a few of these elements.

Putting the second time zone on its own arc separates it from the main time display, a useful distinction on a dial this busy. A traditional GMT, like the Rolex GMT-Master, adds a fourth hand that points to a 24-hour scale around the edge. The Ecliptic moves that reading to the lower dial instead. On the blacked-out version, green lume emphasizes the hands and markers. The coil-spring details at the four corners are decorative, reinforcing the spacecraft-control-panel look. Honestly, this dial looks like it should come with a launch sequence.

Square, Steel, and 155 Grams of Attitude

The stainless steel case measures 45mm across (about 1.77 inches), 45mm lug to lug, and 16mm thick (0.63 inches). Square cases tend to wear larger than round ones of the same width because the corners fill out more of the wrist. The matching width and lug-to-lug measurements keep the case from extending farther along the wrist, but this is still a substantial watch at 155 grams (5.5 ounces), paired with a 26mm rubber strap. An anti-reflective mineral crystal covers the dial, and water resistance is rated at 5 ATM.

The square sports case has plenty of precedent, from Bell & Ross’s cockpit-instrument BR 03 to Hublot’s Square Bang. Nubeo takes a similar instrument-panel approach, adding recessed channels with exposed screws along the case flanks and a crown finished in each colorway’s accent shade. Inside sits a Japanese quartz movement, though Nubeo doesn’t name the specific caliber. Quartz makes sense for a dual time watch that might spend a week in a drawer between trips, keeping both time displays running without winding.

Six New Colorways, Same Cosmic Recipe

The 2026 lineup includes Firewater Blue, Cardinal Teal, Forest Veil, Royal Twilight, Dark Alloy, and Steel Phantom, all built on the same matte black dial. The differences are in the dial accents, crown color, case finish, and rubber strap. Across the lineup, you’ll find yellow straps, blue straps, gray straps with yellow details, and a blacked-out case for anyone allergic to shiny things. The original 2024 variants included Space Blue, Hazard Red, and Golden Black, which Nubeo sold as limited editions. The caseback in the press images carries a limited-edition marking too, though Nubeo hasn’t listed an edition size for the new run.

The Ecliptic fits into Nubeo’s catalog, which leans heavily on space and pop culture with collaborations like the Space Invaders Automatic and the Atari Asteroids watches. This one draws on astronomy rather than a licensed property and costs considerably less than those collaborations. Citizen’s Eco-Drive BR0120 offers retrograde dual time too, wrapped in a classic round case for the buttoned-up crowd. The Ecliptic is the more conspicuous option, with its square case, layered dial, and bright strap choices. Nubeo lists it at $250 before the launch discount, with free shipping and a two-year warranty.

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The Snapmaker U1 drops to $699 this Black Friday, down 30% from its $999 list price, and it might be the smartest buy on your holiday list, mostly because it can make plenty of the gifts on it. The U1 is a four-toolhead 3D printer that prints in up to four colors or materials in a single go. That covers personalized ornaments, figurines, and fidget toys, all printed in multicolor on your desk. It ships with four spools of PLA and 30 ready-to-print models, so after unboxing and automatic calibration, you can print your first model on day one. A good chunk of your Christmas list, sorted.

Four-head printers are rare at this price. Tool changers like the Prusa XL have historically cost well north of $2,000. Snapmaker’s SnapSwap system keeps four print heads loaded and swaps between them in about five seconds, while single-nozzle setups like Bambu’s AMS flush filament at every color change. Fewer purges mean faster prints and, by Snapmaker’s count, up to 85% less wasted plastic. More than 20,000 Kickstarter backers already bought in, making the U1 the most-funded 3D printer campaign in the platform’s history, with now more than 150,000 users worldwide.

Designer: Snapmaker

Click Here to Buy Now: Black Friday Sale. Hurry, deal ends soon!

Five-Second Swaps and a Lot Less Printer Poop

Each of the U1’s four print heads sits docked and preheated with its own filament. When a print calls for a new color, the printer parks the active head and grabs the next one. A steel-ball coupling and a mechanical lock seat each head in the exact same spot every time, and Snapmaker says the mechanism survived over a million continuous swaps with zero mechanical failures. The printer then auto-calibrates all four heads to within 0.04mm (about 0.0016 inches) of each other. That keeps the white trim on a Santa hat right where it belongs.

Single-nozzle printers handle color changes by shoving the old filament out until the new one runs clean. Snapmaker pegs that process at roughly two minutes per swap, and on a busy multicolor model the purged plastic can outweigh the model itself. The U1 only purges small amounts at the start of a job and during calibration. Print a tray of four-color ornaments and those savings stack up fast, in both hours and filament. Your filament budget ends up on the tree instead of in the trash.

A Personalized Ornament, From Download to Gift Box

Four heads can hold four different materials as easily as four colors, so flexible TPU or dissolvable supports can share a print with rigid plastic. For most holiday gifts, though, four colors of PLA do the heavy lifting. Snapmaker’s Full Spectrum feature stretches that palette by stacking thin alternating layers of your four filaments, which your eye reads as new in-between shades. Results depend on the filament, the model’s shape, and your settings, so a quick test print helps. Load red, green, white, and gold, and you’ve basically got Christmas in a box.

Personalizing a gift takes about as much skill as sending a text. Open an ornament model in Snapmaker Orca, add a name with the slicer’s text tool, and assign one of your four colors to each part. A palm-sized ornament uses only a few grams of filament, so each one costs pocket change in plastic. Hit print, and the U1 handles every color swap on its own while you get on with your evening. Repeat for each name on your list, and nobody else at the party will show up with those.

Smart Enough for First-Timers, Cheap Enough for Black Friday

Snapmaker Space, the company’s model library (currently in open beta), offers ready-to-print multicolor models, so beginners can skip 3D modeling entirely. Auto bed leveling helps your first layer stick, and input shaping reduces vibration for smoother walls, with speeds topping out at 500mm/s (about 20 inches per second). Filament loads itself, RFID tags on Snapmaker spools fill in settings for you, and Backup Mode switches to a matching spool when one runs dry. A built-in camera with AI monitoring can flag spaghetti failures and ping your phone. Tinkerers get Klipper firmware and OrcaSlicer support.

Click Here to Buy Now: Black Friday Sale. Hurry, deal ends soon!

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MoMA owns The Starry Night, The Persistence of Memory, and a set of LEGO bricks designed by Godtfred Kirk Christiansen in the 1950s. The museum brought two of those together in 2022, when it partnered with LEGO on the Starry Night set that grew out of a LEGO Ideas submission. A new Ideas project wants to complete the triangle. BrickRelativity has rebuilt Salvador Dalí’s 1931 painting of melting clocks as a 3D brick diorama, complete with the dead tree, the ant-covered watch, and the weird sleeping figure sprawled across the beach. If MoMA wanted a sequel, it wouldn’t even need to leave the building.

Dalí’s original is tiny, just 9.5 by 13 inches (24 by 33 cm), which catches plenty of first-time visitors off guard. The brick version spreads the scene across a black display base with a gallery plaque and a sky built from horizontal bands of blue, aqua, and sunset-yellow plates. BrickRelativity says the central blob was one of the toughest challenges, since soft, shapeless forms and rigid LEGO elements get along about as well as cats and bathtubs. The clocks came a close second, their faces rebuilt from tile grids that warp along with the melt. LEGO Art has already worked through Hokusai, Van Gogh, and Monet, so Surrealism feels overdue.

Designer: BrickRelativity

Three clocks melt across the scene, and each gets its own construction trick. The one hanging off the tree branch wears a pearl-silver bezel that folds over the wood, with a small silver ball at its lowest point standing in for the drip. The pocket watch sliding off the orange ledge swaps silver for pearl-gold tube elements that kink around corners, with a transparent fly perched on its face. The third clock drapes over the sleeping figure in the middle, following the curve of the body underneath it. Numerals were applied as decals directly to the curved surfaces, while every clock hand is built from LEGO elements.

My favorite detail, though, is the face of that gold pocket watch. BrickRelativity built it from a grid of light-blue tiles, and as the face slumps over the ledge, the seams between them bend with it. The result looks like graph paper caught in a heat wave. The grid also gives the numerals a place to sit and recalls the stud-by-stud mosaics of LEGO Art, now visibly coming apart. A warped coordinate system feels very Einstein, which is funny, because Dalí insisted his soft watches came from cheese rather than relativity.

Dalí reportedly based the sleeping figure on a rock formation at Cap de Creus, and it’s generally read as a squashed self-portrait. BrickRelativity layered curved slopes in tan and pale flesh tones until the blob looked properly boneless. Dark gray bars and curves form a closed eye with long lashes, and a wing-like membrane of stacked plates trails off behind it. Back on the ledge, the closed orange pocket watch is a ring of curved elements with a little crown nub. A cluster of tiny ants made from dark clip plates swarms its lid, turning Dalí’s recurring symbol of decay into a minifig-scale infestation.

The landscape skips a printed backdrop entirely. Horizontal bands of blue, aqua, pale yellow, and orange plates build up the sunset sky. The Cap de Creus cliffs on the right use stepped wedges and slopes in tan, dark tan, orange, and gray, placed at different depths to make the coastline recede. Dark brown tiles cover the beach, with patches of exposed studs breaking up the flat surface like scrubby ground. Viewed head-on, that depth collapses back into the painting’s flat composition. BrickRelativity has some practice with perspective tricks: previous Ideas projects turned M.C. Escher’s impossible staircases into bricks.

Down in the front corner, a tiny Dalí minifig with swept gray hair, a patterned tie, and that famous upturned mustache paints at an easel holding a miniature copy of the painting. It’s a direct callback to the Van Gogh minifig and easel that shipped with the Starry Night set. A black base and a small plaque bearing the artist’s name, the title, and the year finish the gallery look. Fan builders have been chasing this museum energy all year, from a 1,117-piece Picasso portrait to a Brick Dangerous melting clock that just qualified for LEGO’s third 2026 review. Dalí’s copyright is managed by the Fundació Gala-Salvador Dalí, so any official version would need the estate’s blessing.

The project currently sits at 1,849 supporters, with 602 days left to hit the next milestone of 5,000. LEGO Ideas lets fans submit builds and rack up supporters, and projects that reach 10,000 move on to LEGO’s official review for a shot at becoming a real set. You can head to the LEGO Ideas page and give BrickRelativity your vote, which costs nothing but a LEGO account. Dalí already turned this painting into floating bricks once, in his 1954 sequel The Disintegration of the Persistence of Memory. Seems only fair to let someone finish the job properly, with clutch power this time.

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Severance did something no tech company has managed in decades: it made people want a trackball again. The MDR terminals on Lumon’s severed floor, with their cream shells, tiny glowing screens, and built-in trackballs, have become weird objects of desire for a show about corporate horror. Designer Shaun Wellens has dreamed up the computer I imagine Lumon would roll out for its next rebrand. The P1 Terminal is a CGI concept from a made-up 1970s company called Push / Pull, designed as a shared computer for people living in a communal space. It has a soft white clamshell body, a phosphor-style display, and a blue trackball that looks good enough to lick (please don’t).

Wellens says the P1 was inspired by a computer used to support experiments aboard the Space Shuttle, which makes sense once you notice the clamshell form. Then he wraps the whole thing in fake history. In his story, the P1 launched in 1972 for people living in underground communities called “pockets,” where it handled mail, bulletin boards, and shopping. It sold badly, its users adored it, and it got a sequel, which is basically the life story of every cult-classic gadget ever made. He also admits to sneaking deliberate flaws into his fictional designs so the imaginary engineers can fix them in the next version, and I love that level of commitment.

Designer: Shaun Wellens

The shell is a rounded off-white pod, with a sage-gray handle module sitting on top like the carrying grip on a vintage TV. That handle has a recessed slot and a tinted window that recall the iMac G3 and the 1999 clamshell iBook. The open renders show the two halves joined by a stacked metal hinge at the center, the one visibly mechanical part on an otherwise pebble-smooth body. The Space Shuttle inspiration was the GRiD Compass, a magnesium clamshell designed by Bill Moggridge that flew aboard Columbia in 1983 as the Shuttle Portable Onboard Computer, or SPOC.

Inside the lid sits a dark, rounded-rectangle display with cyan-green text that recalls an old phosphor CRT. A camera pokes through a tiny notch at the top center, which is a hilarious thing to find on a computer that supposedly shipped in 1972. Perforated speaker grilles flank the screen. The interface boots to a pixel-font “hello” and drops you into a numbered menu of services, a text-only setup that would sit comfortably next to a Lumon file full of scary numbers. Wellens calls it a lightning-fast graphical interface anyway. In his fictional timeline, it arrived a full year before the Xerox Alto, the pioneering 1973 GUI computer.

The bottom half is a dark oval tray holding a full keyboard, with the blue trackball parked dead center below the keys. That ball is the loudest color on the entire product, and it deserves to be. Trackballs have appeared in early terminals, arcade cabinets, and Logitech’s TrackMan, while Severance gave them another memorable role on the MDR desks. Putting it in the middle also makes sense for a shared machine, since lefties and righties get equal access. The oval keyboard looks a little cramped at the edges, but it matches the pebble shell so neatly that I’m happy to call it one of his intentional flaws.

A chunky, multi-jointed arm that looks borrowed from a robotics lab supports the terminal. It’s designed to let the P1 swing out, tilt, and tuck away, useful movements for a shared machine in a cramped communal space. In one render, the cable drops in from above, suggesting a ceiling- or wall-mounted setup like a dental lamp waiting for its next patient. Residents could walk up, pull it down, check their mail, and push it back, which might explain the Push / Pull name (my theory, Wellens hasn’t confirmed it). That setup makes the P1 feel closer to a payphone or a library catalog terminal than a personal computer.

Wellens’ conceptual history lands surprisingly close to the real thing. In August 1973, the Community Memory Project put a public bulletin board terminal in Leopold’s Records in Berkeley, with later terminals appearing in libraries and laundromats around town. A decade later, France was distributing free Minitel terminals that let people shop, bank, and message each other from home. The service lasted until 2012. The P1 mashes both ideas into one glossy pod for people living underground. Wellens even mocked up a period magazine ad with a big serif headline over a violet product shot, and it’s convincing enough that I briefly wanted to mail away for one.

Severance production designer Jeremy Hindle already gave us the most covetable fake office tech on television, so consider this a friendly nudge. Somebody on the show’s crew should get Wellens on the phone, because the P1 looks like a terminal Lumon would install somewhere much friendlier than the Break Room. He has form here too, having already dreamed up the Kriket 3000, a pastel retro robot that would look right at home wandering the severed floor’s hallways. The guy clearly loves building machines for a timeline that never happened, which is more or less the Lumon design brief. Hire him, throw him a waffle party, and let him build whatever strange hardware the next season needs.

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There was a time when a computer’s biggest annoyance was a progress bar inching slowly or a dial-up modem screeching and hissing its way online. Nobody pinged you on Teams, Copilot didn’t offer to rewrite your emails, and the worst thing your PC could do was crash in the middle of Solitaire. Benlywatch’s Desktop 95 bottles that era and straps it to your wrist. The limited-edition analog watch puts a Windows 95-style desktop on its dial, complete with teal wallpaper, beveled windows, and a dialog box that reads “Loading memories…” Honestly, that progress bar is the most accurate thing anyone has written about millennials.

Two pixel cursors serve as the hands, a SYSTEM “Ready” dialog sits near the center, and a taskbar runs along the bottom of the dial. It all lives in a 39mm-wide, 10mm-thick case made from 316L stainless steel, with a Swiss quartz movement and a 5 ATM water-resistance rating. You get a blue or white dial with a leather strap, Milanese mesh, or steel bracelet, plus a numbered caseback. The edition is limited to 500 pieces. Pre-orders are open at $159, with shipping slated for November 2026. The only notification it will ever send you is the time.

Designer: Benly Watch

Pixel Cursor Hands and Two Desktop Dials

One hand is a classic arrow pointer, and the other is the little pointing hand that appeared whenever you hovered over a link. Together they move around the dial telling the time, which is the most productive thing a cursor has done since the invention of the screensaver. Everything else on the dial stays put. On the blue version, an ARCHIVE window with File, Edit, and View menus holds WORK, PHOTOS, and NOTES icons, while DESK, SAVE, and FILES shortcuts line the left edge. Chunky pixel numerals mark 12, 3, 6, and 9, and the taskbar reads MENU, ARCHIVE, and READY, speaker icon included.

The white dial swaps teal for a creamy beige and renames the main window DESKTOP, with COMPUTER, FILES, and DISK icons and a simpler “Loading…” bar. Its numerals almost disappear into the background, so it looks like a screenshot someone shrank down and laminated. I like that the two dials feel like two moods of the same machine. Blue is the cheerful default everybody remembers from the family PC. White is the office computer in accounting that never got its wallpaper changed. Both keep that SYSTEM “Ready” box parked near the center like a promise.

The Windows 95 Design Behind the Dial

Windows 95 launched on August 24, 1995, backed by a $300 million marketing push, a launch event hosted by Jay Leno, and people lining up at midnight to buy an operating system. Its startup sound was composed by Brian Eno, which remains a wild sentence to type. The interface reflected the work of a design team led by Virginia Howlett, a painter by training. Those teals, royal blues, and medium grays came partly from the limited color palettes of graphics cards at the time. Hardware limits, basically, turned into an aesthetic people now pay money to recreate.

Three decades later, Windows comes with Copilot, Teams, and a Solitaire that serves you ads, and Howlett herself has called the Windows 95 years a “kinder, gentler time.” The Desktop 95 taps into that feeling. It’s a desktop with no updates, no pop-ups to dismiss, and no assistant asking how it can help. The only thing missing is Clippy, though in fairness he didn’t arrive until Office 97, and the dial is probably better off without a backseat driver.

Case Specs, Pricing, and Availability

The case measures 39mm across and 44.5mm long, and at 10mm thick it should slip under a shirt cuff without a fight. It’s made from 316L stainless steel, with a matching steel caseback engraved with the Desktop 95 name and an individual edition number. The leather strap is 20mm wide and fits wrists from 5.3 to 8.1 inches (13.5 to 20.5cm), with Milanese mesh and steel bracelet versions also available. Inside is a Swiss quartz movement, which suits the theme, because nobody in 1995 wanted to wind anything except a VHS tape. Water resistance is rated at 5 ATM.

Most of Benlywatch’s catalog is retro-futurist digital hardware with OLED and LCD screens, from the Cybertruck-inspired Future Warrior to its 1970s-style Stargazer. The Desktop 95 takes a different approach, recreating a screen on an analog dial. It’s listed at $159 on pre-order through Benlywatch’s website, limited to 500 pieces, with shipping expected in November 2026. Free worldwide shipping is included, and the brand covers import taxes and duties.

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Every Green Lantern has the same annoying chore. Once a day, the ring needs a top-up, so our cosmic cop has to press his fist against a glowing green lantern and recite a whole poem before it’ll charge. Imagine your iPhone demanding spoken word every night before you plug it in.

Xedge’s NoxTi TRI skips the ritual. It’s a pocket-sized lantern in Grade 5 titanium that hangs off your keys or around your neck, with three glow tubes tucked inside. Fit it with tritium tubes and it glows without charging, a switch, or poetry, slowly dimming over a couple of decades. Prefer something non-radioactive? Photoluminescent tubes absorb light and glow after dark. Hal would be jealous.

Designer: Xedge

Click Here to Buy $35 $55 (36% off). Hurry, only a few left! Raised over $81,000.

Three Tubes, One Glowing Core

NoxTi TRI holds three 3 x 22.5mm glow tubes spaced 120 degrees apart to keep the glow visible from more angles, whether the capsule is dangling from a keyring or lying in a cupholder. The tubes sit in a custom carrier made of optical-grade PMMA acrylic, for which Xedge claims around 97 percent light transmission. The carrier is designed to use total internal reflection to distribute the light, making the three tubes appear as one luminous core behind the titanium windows.

Six colors are on the menu: Apple Green, Ice Blue, Ocean Blue, Red, Violet, and Sunset Orange. Run one across all three slots for a uniform glow, or mix them. Yes, that means three Lantern Corps on one keyring. Tritium is the set-and-forget option. Its half-life is about 12 years, so the glow gradually dims rather than switching off, with Xedge describing a usable lifespan of about two decades. That’s still a better deal than any battery I own. The tritium is sealed inside glass vials, and Xedge reports a radiation-meter reading of 0.07 µSv/h. Photoluminescent tubes are the cheaper, non-radioactive option, recharging through exposure to light.

Titanium Outside, Shock Absorbers Inside

The shell is CNC-machined from Grade 5 titanium, an alloy also used in aircraft parts and bone implants. Its corrosion resistance should suit the sweat and daily handling of life on a crowded keyring. It measures 47mm long and 14.3mm across, and weighs 15.8 grams, roughly the weight of three US nickels. Inside, a quartz sleeve surrounds the glowing core to help keep dust out and the view clear, while O-rings seal the threaded body. Xedge says it tested the design at temperatures from minus 20°C to 100°C. It comes in sandblasted raw titanium or a stealthier Black DLC finish. I’d pick the black, purely because the glow stands out more against it.

The more interesting detail is how the design cushions those glass tubes. Each one rests on a 3mm silicone ball, and a stainless steel spring under the core is intended to absorb jolts from dropped keys or a swinging pendant. That spring sits on a magnetic base to help keep it in place when you unscrew the body to swap tubes, reducing the chance of tiny parts bouncing across the kitchen floor. A machined Tri-Index Cap keeps all three tubes aligned with their windows. Xedge says every component is accessible and replaceable, giving the titanium shell a chance to outlive several sets of tubes.

Wear It, Clip It, Break Glass With It

The attachment hole at the top takes a split ring, a quick-release clip, or a chain, so the TRI can live on your keys, hang off a bag zipper, dangle from a phone strap, or ride around your neck as a pendant. The kit supports both single-tube and triple-tube setups, so you can switch between them. On the opposite end sits a ceramic glass-breaker bead, intended for breaking car windows in an emergency, which I sincerely hope nobody ever needs. Keep expectations calibrated, though: this is a locator glow for finding your keys or bag in the dark. It won’t light up a trail.

The NoxTi TRI Kickstarter campaign lists a retail price of about $55 (HK$429) per unit. Pledge pricing starts at $35 for the launch special, followed by $39 for Super Early Bird and $45 for Early Bird, with two-packs from $65 and a four-pack at $119. Glow tubes are separate add-ons: tritium costs $20 per tube or $60 for three, while photoluminescent tubes are $7 each or $15 for three. Extras include the Black DLC upgrade ($15), a stainless steel necklace ($12), a titanium quick-release clip ($15), and titanium split rings ($12 for three). Shipping is listed as free worldwide, with deliveries planned for February 2027. Xedge hasn’t published warranty terms yet.

Click Here to Buy $35 $55 (36% off). Hurry, only a few left! Raised over $81,000.

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Jackery’s new Explorer 100D looks like it should play AM radio. The squat little cube has a framed front panel, orange slatted vents down its sides, and a webbing strap you’d expect on a vintage transistor set. Instead of tuning into ballgames, it stores 96Wh of energy and delivers up to 158W across two USB-C ports and one USB-A port. It measures 4.67 by 3.25 by 3.37 inches (11.9 x 8.3 x 8.6cm), making it roughly softball-sized, and weighs 1.87 pounds (850g). It’s the smallest power station Jackery has ever built.

Jackery’s D-series models skip the AC outlet entirely, and that decision explains much of the design. They don’t need an inverter, a bulky component that generates heat and often requires a cooling fan. Leaving it out lets the box shrink to desk-friendly proportions, while the 96Wh battery sits just below the FAA’s 100Wh threshold for batteries carried without airline approval. Jackery estimates more than four charges for an iPhone 17 or Galaxy S26, or roughly one full recharge for a 14-inch MacBook Pro. That’s a useful reserve in something that weighs less than the laptop it’s charging.

Designer: Jackery

One Button Runs the Whole Show

A TFT display on the front tracks input and output wattage, battery level, and estimated runtime, with additional screens for battery health, cycle count, and internal temperature. One DISPLAY button handles it all. Tap once to flip between status screens, double-tap to keep the screen on or switch it off, and hold for three seconds to enter Low-Power Charging Mode. That last trick is for smartwatches and earbuds. Some power banks stop supplying power when a device draws too little current, leaving you with AirPods stuck at 40%. Jackery’s dedicated mode is designed to keep power flowing to those smaller gadgets.

The screen resembles a car’s instrument cluster, with a circular battery gauge in the middle and input and output readouts flanking it. A glossy, framed front panel groups the display and ports into a single face, which is where the transistor-radio vibe comes from. Port labels are printed directly on the panel, and a small bracket under the two USB-C ports marks their 140W maximum. The horizontal vent slats carry Jackery’s signature orange. Four rubber feet help keep it steady on a café table, and the strap fastens to round studs on either side.

140 Watts That Fit in a Tote Bag

The USB-C ports offer up to 140W and support three fast-charging protocols: USB Power Delivery (PD), Programmable Power Supply (PPS), and Adjustable Voltage Supply (AVS). PD serves modern laptops, PPS fine-tunes voltage for compatible devices, including Samsung phones, and AVS is the newer addition Jackery highlights for Apple gear. Jackery claims the 100D can charge an iPhone 17 to 50% in 21 minutes. Total output across all three ports reaches 158W, allowing a laptop, phone, and pair of earbuds to share it. The 18W USB-A port handles whatever legacy cable is still living in your bag.

Recharging options include a 140W USB-C wall charger, a 100W car charger, or a 100W solar panel. Jackery quotes 1.7 hours from zero to 80% on solar. Car charging supports both 12V and 24V sockets, covering semi-truck cabs as well as hatchbacks. Car and solar charging use a USB-C to DC8020 adapter connected to C1, the only port that accepts input. When charging the battery and powering devices simultaneously, input and output are capped at 100W each, worth knowing if you plan to use it as a desk hub. Jackery rates the LFP cells for 3,000 cycles before capacity drops to 80%, equivalent to more than eight years of daily cycles.

The Pocket-Size Panic Buy

The 100D replaces the Explorer 100 Plus, Jackery’s previous smallest station, with several improvements. Weight drops from 2.13 pounds to 1.87, output climbs from 128W to 158W, and rated cycles rise from 2,000 to 3,000, with a 3Wh reduction in capacity. The one step back: only one USB-C port accepts input, whereas the 100 Plus could charge through either. Anker’s Solix C200 DC is an obvious rival, offering 192Wh for $149. That doubles the energy but exceeds the FAA’s 160Wh upper limit for spare lithium-ion batteries in passenger baggage, ruling it out for air travel.

Walmart is scheduled to start selling the 100D for $99 on November 15, Costco already offers a two-pack for $179.99, and Jackery lists it at $119 on its own site, with sign-ups for preorder alerts. It’s a compact entry into 2026’s power-station panic buy. Large home-backup stations are built to keep appliances running during an outage. The 100D is for the laptop deadline at an airport gate where every outlet is taken, or the campsite with no plug for miles. It’s a power station you might actually use on a Tuesday.

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Five layers of paint. That’s how many Norton applied to the bodywork of its new Manx R, enough that the engineers had to factor paint thickness into how the panels fit together. It’s the sort of obsessive detail you’d expect from Bentley, and a RevZilla tester floated the “Bentley of bikes” comparison after riding it. The Manx R is the 206-horsepower V4 flagship of Norton’s comeback under TVS Motor, and it’s already rolling into UK and European dealerships. It has also picked up an IDEA Bronze and a Red Dot: Best of the Best this year.

Norton’s in-house team in Solihull designed it under Head of Design Simon Skinner, with Range Rover and Defender design veteran Gerry McGovern steering the creative direction. The surfaces are free of winglets and exposed bolts, with the only visible bodywork fasteners on the front fender. Even the switchgear buttons are metal, a small luxury you can feel every time you use them. Under all that paint sits a new 1,200cc, 72-degree V4 tuned for the midrange, where most real riding happens. The base bike starts at £20,250 (about $27,600) in the UK, with US pricing still under wraps ahead of an expected early 2027 launch.

Designers: Simon Skinner & Gerry McGovern (Norton Motorcycles)

Norton’s original Manx was a racing single built from 1947 to 1962, named after the Isle of Man and its legendary TT. In 1950, it gained the Featherbed frame, designed by Belfast brothers Rex and Cromie McCandless, and riders like Geoff Duke used it to collect world championships and TT wins in the early fifties. Resurrecting that badge carries real pressure, and plenty of brands would have answered it with spoked wheels and a round headlamp. Norton went the other direction entirely, replacing the curvy, retro-tinged V4SV with something sharp and forward-looking. I think that was the right call.

Skinner builds the design around four principles he calls modernity, integration, drama, and connection, and he describes the result as reductive. His favorite explanation compares a new-build estate house with a 20-year-old glass-and-steel home that still looks like it arrived from the future. The Manx R lands firmly in the second camp. Its nose is a smooth, wingless shell with split chevron LED headlights tucked under a tall smoked screen, and the mirror stalks grow straight out of the fairing shoulders. Clean volumes, precise gaps, and reflections define the front end, rather than the winglets and vents found on rival bikes.

Carbon infill panels on each flank frame a window onto the top of the V4, its covers dressed in carbon plates, making the engine part of the display. Three angled gills on the upper fairing vent heat from the electronics, and the repeated-line motif runs across the seat and side panels. Out back, a three-bar LED taillight sits above a stack of black louvers, while the exhaust hides under the belly and the single-sided swingarm leaves the rear wheel fully on show. The fuel cap carries an embossed Manx R badge, a detail most owners will notice at the pump. If I could change one thing, I’d lose those tail louvers, which look a touch like a space heater on an otherwise clean rear end.

Norton rates the V4 at 206 hp at 11,500 rpm and 96 lb-ft at 9,000 rpm. Those peak figures trail a few rivals, which Norton says is deliberate. Its engineers logged roughly 135,000 miles of data on Ducati, Aprilia, and BMW superbikes and found riders spent 99% of their time below 8,000 rpm, so the engine’s tuning prioritizes the middle of the rev range. According to RevZilla, it can run as a 600cc twin at deep lean angles and small throttle openings, and it shuts down the rear cylinders at idle to reduce heat around the rider’s legs. The narrow V layout also helped fit everything into a 56.5-inch (1,435mm) wheelbase.

At the 2026 International Design Excellence Awards, the Manx R took Bronze in Automotive and Transportation, and Norton says it’s the first combustion-engined production motorcycle to win an IDEA. Two months later, it collected Red Dot: Best of the Best in the Design Concept competition, aimed mainly at concepts and prototypes, despite already being in dealerships. Both prizes come from design juries, not lap-time comparisons. The Ducati Panigale V4, Aprilia RSV4, and BMW M 1000 RR all wear visible aero on their fairings, and Norton is betting some superbike buyers would prefer a cleaner look.

Norton sells the Manx R in four trims. The base bike gets manually adjustable Marzocchi suspension, cast aluminum wheels, and room for a passenger, while the Apex adds semi-active Marzocchi suspension and forged wheels. The Signature goes single-seat with carbon fiber bodywork and Rotobox carbon wheels, and the First Edition piles on titanium fixings, a numbered top yoke, and a quilted leather seat. Every version gets Brembo Hypure brakes and an 8-inch TFT touchscreen. UK pricing runs from £20,250 (about $27,600) for the base bike to £38,750 (about $52,800) for the Signature, with the First Edition priced on request. US pricing hasn’t been announced ahead of an expected early 2027 arrival, so American riders have a few months to save up for all that paint. US pricing hasn’t been announced ahead of an expected early 2027 arrival, so American riders have a few months to save up for all that paint.

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The traffic cone is basically a Rorschach test for the internet generation. Construction workers see a long night shift, college kids see dorm decor, and anyone who’s ever downloaded a movie sees VLC. I mostly see something to swerve around. Xinhao Guo saw a robot. Guo led a student team at the Beijing Institute of Technology that developed SkyCone, a drone concept designed to fly to a highway incident, land in position, and fold itself into a traffic cone.

Guo’s teammates were Songyan Pan, Zixu Zhang, and Wanzheng Liu, and their concept won in the Conceptual Industrial Product Design category at the 2026 European Product Design Award. SkyCone is designed to fly as an X-shaped quadcopter, with each of its four triangular arms housing a ducted propeller. After landing, the arms would tilt up and lock together at magnetic tips, forming a four-sided pyramid with the familiar orange and white stripes. The goal is to keep workers out of live lanes. The team cites a figure that 57% of frontline highway personnel consider manual cone placement their most dangerous task.

Designers: Xinhao Guo, Songyan Pan, Zixu Zhang & Wanzheng Liu

A square central hub anchors SkyCone, carrying a downward-facing camera on a gimbal, with an LED strip and a non-slip mat built into its underside. The four arms are what the team calls Triangular Prism Buckets, hollow orange wedges that each surround a ducted propeller. Red magnetic locks with integrated indicator lights cap the arm tips, which meet at the cone’s apex when everything folds shut. Reflective strips trace the arm edges to improve visibility. My favorite detail is graphic: the white cone bands sit on the faces that point outward after folding, so the drone only looks like a cone once it actually is one.

Charles D. Scanlon, a Los Angeles street painter, designed the modern traffic cone to keep cars away from his wet paint, building it from rubber and fabric salvaged from old tires. His patent was granted in November 1943, and Interstate Rubber Products began manufacturing the design in 1947. The cone eventually made it into the Manual on Uniform Traffic Control Devices, the federal traffic-control manual. Materials and reflective collars have evolved over eight decades, yet the silhouette has barely budged. SkyCone largely keeps that familiar shape while changing how it gets into position, a sensible approach for an object drivers need to recognize quickly.

Placing those cones is still mostly manual work, with crews riding the back of a slow-moving truck or walking beside it and setting cones down a few feet from passing traffic. The US recorded 850 work zone deaths in 2024, an average of more than two a day. In March 2023, a single crash on I-695 outside Baltimore killed six roadway workers. The SkyCone team describes the first few minutes of an emergency or maintenance call as the most critical stretch, when crews are particularly exposed. A fleet of drones that could position cones before anyone steps out of the truck might reduce that initial exposure.

Brisbane-based Arrowes has already built an Automated Cone Truck that drops a cone every five seconds. On Melbourne’s Eastern Freeway, it handled 65,000 cones while cutting worker exposure to live traffic by roughly 500 hours. Caltrans and UC Davis developed a cab-operated cone machine back in the 2000s, and Spain’s Sacyr and GMV set out to prototype a self-driving trailer with an AI-guided robotic arm. Each system relies on a truck or trailer. SkyCone proposes making each cone responsible for its own delivery. Chris Chang’s Apiece showed in 2022 that a cone could be assembled from flat triangles, and SkyCone basically gives those triangles propellers.

The team’s renders place SkyCone at a nighttime highway repair, an incident scene behind an arrow-board truck, a rockfall on a mountain road, a snowed-over highway, and the crumbling edge of an open-pit mine. The mine scenario sold me, since walking a crumbling pit edge to place cones sounds like a genuinely terrible afternoon. SkyCone joins a line of highway concepts that propose sending machines into hazardous places. The Highway Patrol Drone was designed to wait on light towers and fly to crash scenes ahead of responders, while the Median AMB proposed riding the road divider like a monorail to skip traffic. SkyCone’s role would be marking off the scene so responders can work.

The European Product Design Award is a global, open-entry program run by Farmani Group. SkyCone won in its conceptual tier as a student project, so the award recognizes a design proposal rather than proven roadside performance. Guo and his team want the cone to get into position on its own; whether it can do that reliably beside live traffic remains to be demonstrated. My brain will probably keep saying VLC whenever I see a cone, but now it’s going to add “robot” right after.

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