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Yesterday, a group of MIT researchers released an article titled “Sparks of Weight-Space Programming: LLMs can natively read & write neural network weights”. The piece describes a set of experiments which convincingly show OpenAI’s latest Astra model is able to understand and successfully alter raw weight data. Wowzers! It’s a rough analogy, but an LLM’s weights are sort of like its brain. A set of weights is a large pile of numbers generated during training, and an LLM’s output is derived by running input through the weights using some matrix multiplication and a bit of randomization. While the steps to generate weights are well understood, the weights themselves are extremely opaque. There’s ongoing work to try and explain how weights work, but researchers currently have a limited understanding of what these numbers do. Based on this, I was quite surprised to learn that LLMs are able to act on raw weight data — even if it’s still just in limited cases. It’s unclear if OpenAI’s model was trained on weight data. Even if it was, I still find these results surprising. The article shows the model accurately predicting what a never-before-seen set of weights was built to do, fixing another model by updating its weights, and creating new sets of weights that performed simple tasks. I would not have guessed any of that would be possible a couple of days ago. This whole thing is slightly unnerving. The whole “weights as a black box” thing has always felt a bit sketchy to me, even when I was working with much simpler machine learning models. Now these experiments hint at a future where LLMs could be self-improving in ways that aren’t human-verifiable. Machines building machines, and we can only hope that they’re not doing anything weird. I don’t know if this strategy is scalable, but I’d guess that it’s something more people will be exploring very soon. More and more often these days, I wish we were living in less interesting times.
I really enjoy John Gruber’s podcast The Talk Show. However, I’ve noticed that it’s been a while since it was in my feed. I decided to chart previous episode dates to check some of my assumptions about release frequency. Cutting to the chase, here’s a link to The Talk Show Timeline. You can click/tap on days to get a pinned tooltip, which lets you link out to a particular day’s episode. I’ve tried to make this work well on mobile devices, but you’ll likely find it works best on desktop. A note about this: Gruber has mentioned in the past that there has been a personal situation that he’s been working through. He’s also mentioned something to this effect on the podcast at points, but hasn’t gone into detail. I don’t need to know more than has been said, and I just hope things are alright. I’ve read Gruber’s site since 2002 1 and listened to his podcasts since 2007. In that time, I’ve learned that he operates on his own timeline… and has a penchant for procrastination. No shade here! He’s set himself up with a work situation that I envy. I also don’t want to seem grumpy about the lack of podcast episodes; I’m just trying to understand how this current break compares to those in the past. Because it was easiest, and because it would answer my immediate questions, I only looked at the current iteration of The Talk Show. Happily, there’s a single page which lists all the episodes. It had a tiny bit of data weirdness, 2 but I was able to turn this into a JSON file with the details I cared about. With that, I used the calendar heatmap chart in Apache ECharts to display the episodes over time. Some things I noticed: While it’s been a while (29 days) since the last episode (on August 10), this isn’t unheard of. The average is about 12 days between episodes, but there have been 6 other times when the episode gap has been at least this long. The longest gap was 62 days between December 24, 2024 and February 24, 2025. There’s exactly one day with two episodes: July 19, 2014. It was “Cat Pictures” with Marco Arment, which got split into two “sides”. Here’s a link to side 1, and here’s side 2. I mentioned procrastination: 73% of episodes take place on the 16th of a month or later. 28% of episodes take place on either the last or second-last day of the month. Again, no shade! It’s something I chuckle about whenever I notice it. At the current rate, this year is about in line with output going back to 2023. While it has been a while since a new episode dropped, it’s not out of whack statistically. Anyway, this was a Labour Day project that was mostly for my own amusement. I expect there will likely be a new episode of The Talk Show some time fairly soon after tomorrow’s Apple event. I also don’t know if I’ll keep this chart up to date… though it’s not terribly onerous to do now, so who knows. I found Daring Fireball because I was researching the purchase of my first Mac around this time. It wasn’t until October of 2002, but I ended up buying one of the machines he wrote about in his first post that August. ↩ The following dates don’t match the main format: Sunday 30 November, 2025 Mon, 24 Feb 2020 16:05:34 EDT Tuesday 31 December 2019 Tuesday, June 25 2019 Sat, 16 Mar 2019 19:43:49 EDT Wednesday 31 December 2014 Monday, 30 Jun 2014 ↩
I mostly use my web stats service because I get a lizard-brain kick from watching numbers go up, but it also provides some fun insights. For example, it’s how I found out about bubbles.town. At first I thought this might be a Mastodon instance. I get a lot of referral traffic from Mastodon, but each instance has its own URL. You can guess at mas.to, but dice.camp doesn’t provide many clues. Bubbles, as it’s known, is a very nice service. It aggregates a curated list of indie blogs. People can sign up and vote for posts they enjoy, but they can’t submit new articles. Authentication and comments are both handled using Fediverse technologies. In my case, I was able to log in via my Mastodon instance. The idea is to highlight cool indie writers around the web. I love this sort of thing so very much. Anyway, this is all to say that you should check out Bubbles. Seeing a blog-based reaction to one of my posts on the service filled my heart with immense joy.
I’ve been using Photoshop since the mid-90s. First at school, with Photoshop 3, then through work. I bought my first boxed copy of CS2 in 2005, then upgraded to CS5 in 2010. I subscribed to Photoshop Creative Cloud on day one. Today, I uninstalled it. I hope I never have to use Adobe software ever again. Photoshop used to be a joy to use. Whenever I got access to an upgraded version, I’d always have fun exploring the new features. I got really good at using it. When Adobe launched the Creative Cloud version of Photoshop in 2013, I signed up immediately. The subscription meant I would always have an up-to-date Photoshop, and I loved the idea that new features would be rolled out more frequently. But over time things started getting worse. Slowly at first, but then much more quickly. Originally, the Creative Cloud app was native and relatively useful. I wasn’t ever excited to open it, but I certainly didn’t mind having it installed. At some point, it became a terrible web-based app. Over time it felt slower and more broken. One thing I loved as part of the Creative Cloud subscription was the Creative Cloud Synced Files service. Basically, it was Adobe’s version of DropBox. I used it all the time to share screenshots and samples of in-progress work. Then, in 2023, Adobe announced they’d be discontinuing the service. There was so much pushback that they delayed the service’s retirement for a year. It makes sense, it was a nice feature of the subscription plan and businesses had come to rely on it. This was the first time I started questioning my Creative Cloud subscription. Out of curiosity, I looked around at the available options. I played with Pixelmator Pro, Acorn, and Affinity Photo. They were all fine, but I couldn’t let Photoshop go. I just knew it too well. But I also started realizing how little I was using it. I used to do a lot of traditional web development. In days of yore, this involved getting Photoshop mockups from designers. Those images needed slicing into pieces that you’d use to build a site or an app. But I hadn’t gotten a Photoshop document from a client in years. The PSD had been replaced with Sketch files, then with links to Figma documents. I still used Photoshop to touch up images, but that really didn’t use much of its power. The only thing holding me to the product was familiarity. Then I started to notice some real quality issues. For some reason that I still don’t understand, my copy of Photoshop stopped updating. I didn’t notice for a while, but eventually I stumbled upon the release notes and saw that I was something like nine months behind. I was able to fix this by forcing the Creative Cloud app to reload its settings using Command + Option + R, at which point I could update. Then, a few months later, Photoshop updates started getting stuck. I’d start an update, but it would spin for hours but never complete. I was able to fix this by uninstalling Photoshop using the Creative Cloud app, then re-installing it… but I had to do this more than once. Soon after that, every new Photoshop update would reset my preferences to the defaults. I’d need to take 5 or so minutes to re-apply my settings every time. A little while later, Adobe started silently updating my /etc/hosts file for license verification purposes. As posited in that link above, the Creative Cloud app now felt like malware to me. But that wasn’t all, Photoshop itself had started feeling terrible. There was now an annoying welcome screen that would re-appear for me whenever I didn’t have an image open. There was an option to disable it, but the option was reset every time I relaunched Photoshop for a couple of releases. Then Adobe decided to replace almost all of Photoshop’s native UI controls with web-based ones. This was the final straw. I’m sure some of these issues were special cases for me. Something that got stuck somewhere, maybe. I’m a developer, so maybe my tooling was interfering with something? Only: every time I ran into an issue, I’d see dozens of people complaining about the same thing on the Adobe support forums. It really felt like Photoshop and the Creative Cloud app had grown into blobs of pain that Adobe no longer knew how to properly maintain. As this was happening, Apple had released their Creator Studio service. For the same price as my Creative Cloud Photography plan, I could get an updated version of Pixelmator Pro, plus a bunch of other great apps. I’ve since signed up and haven’t looked back. But Adobe wasn’t done with me yet. It turned out that my subscription, which had been going since 2013, was on an “Annual Paid Monthly” plan. Even though I was getting billed monthly, I couldn’t actually cancel any time I wanted. I had sort of remembered this being a thing when I signed up, but had long since forgotten about it. Anyway, the one-month window to cancel without a termination fee recently arrived, and I got around to cancelling today. Cancelling required me to log into my Adobe account on the web. No problem, I thought. I had set up Adobe Authenticator, and had used it dozens of times to log in before. This time, however, the authenticator app needed me to log in. To log into the authenticator app, the app asked me to use the app to authenticate the app. Sorry? This was, of course, impossible. Eventually I figured out that I could use an alternative method to log into the app, so I could then use the app to authenticate my web session. This felt bone-headed, but whatever. I then received the following email. There’s nothing hidden here, this is the full contents of the message. At this point, though, I was actually able to start the cancellation process. The first screen of the cancellation flow looked like this: Here’s what it looked like after selecting things: I guess no one at Adobe uses dark mode? Anyway, the next 3 steps included Adobe begging me not to cancel, and even offering me three free months. This process had not convinced me I’d be happier staying. But even after completing the cancellation, I wasn’t done. I now wanted to uninstall everything. The Photoshop part of this was easy enough using the uninstaller app in the /Applications/Adobe Photoshop/ folder. The Creative Cloud app was more stubborn. There was also a link to an uninstaller for it in the /Applications/Adobe Creative Cloud/ folder… but running it failed with the error: Couldn’t uninstall Creative Cloud for desktop. You still have Creative Cloud applications installed on your computer that require it. Weird. The only other “app” I had installed was Camera Raw, which was just a plugin. There was also no way to uninstall it inside of the Creative Cloud app. I was able to find the plugin in /Library/Application Support/Adobe/Plug-Ins/CC/File Formats/. Deleting it and relaunching the Creative Cloud app showed that it was now no longer installed. I tried running the Creative Cloud uninstaller again, but I got the same error. This time I tried the “Repair” option, offered as part of the uninstaller, but that also failed. So I then tried the Creative Cloud Cleaner Tool… but this failed, too. At this point I was really annoyed, so I decided to manually remove things. I do not recommend doing this yourself, but here’s a general list of the stuff I got rid of: Under /Applications/: all the Adobe folders Under /Applications/Utilities/: all the Adobe folders The /Library/Application Support/Adobe and ~/Library/Application Support/Adobe directories, as well as any com.adobe.* files Under /Library/Preferences/ and ~/Library/Preferences/ all the Adobe* and com.adobe.* files Under /Library/Caches/ and ~/Library/Caches/ any Adobe* directories Under /Library/LaunchAgents/, /Library/LaunchDaemons/, and ~/Library/LaunchAgents/ directories: all the com.adobe.* files Under /Library/PrivilegedHelperTools: all com.adobe.* files Under /Users/Shared: all Adobe* directories Let me reiterate: you should not follow my lead here. I likely missed some things, and it’s very easy to mess things up by deleting system files. I offer no support if you decide to follow these steps. Again, it’s quite possible that there’s something weird going on with my machine or my installation… but I swear I never did anything but use the Creative Cloud app to manage things. I expect Adobe to be able to clean up their mess if they’re going to install files all over the friggin’ place. Anyway, all this said, I’m still slightly sad to be rid of Photoshop. Pixelmator Pro suits my current needs, but there are definitely things I will miss from Photoshop. Pixelmator Pro’s UI is a bit of a Liquid Glass nightmare, but it’s a massive improvement in terms of software quality. I’m extremely happy that it doesn’t strew zillions of files across my computer. I’m also pretty certain it will be much easier to unsubscribe from if I decide to do so in the future. So long, Photoshop. I’ll remember the old days fondly, but you are well past your prime.
More in technology
Nathaniel Christopher has a lovely recap of his time at WordCamp Canada. Very cool that the dashboard widget helped connect him to the local community. Hat tip: Anne.
There are few things worse than a dead AirTag when you need it. That's why we designed the The 4-Year Battery Keychain for AirTag. It replaces the low power CR2032 coin cell with an included Toshiba CR2477 battery for over 4x more capacity. And does so in a minimal form factor. Assembles in seconds. Split key ring + braided cord included. Easy to open with included tool. Perfect on a keychain. And great for backpacks or a purse. Also available on Amazon.
In the corner of the rear Floodgap lab sits a pile of classic game consoles. It used to look like this: Sega Dreamcast all the consoles here only came with NTSC RF output and date from the pre-flat panel TV era. That includes multiple Atari consoles (including the inevitable VCS, here a Darth Vader 2600), several Pong machines — including two Commodore units — with various chipsets, an Intellivision (as the rebadged Tandyvision One, my first) and a Bally Astrocade with lots of upgrades. It seems wrong to use them with a flat panel, and CRTs lag less. Plus, games with a light gun (here the Dreamcast and one of the Pong consoles) often rely on the CRT's rapidly scanning beam to know where they're pointed. So what do you do when the CRT TV goes bad? I should note that this isn't all the old school gaming fun in the house. In the commons next to the pinball machines are an Xbox 360 Slim and a PlayStation 2, and in the home theatre connected to the 3D projector is a PlayStation 3 since it has some stereoscopic titles. These might appear in future articles. But most of the rest are here. I bought this Panasonic Omnivision PV-M2035 from a friend at church in 1999 for $100 [about $200 in 2026 dollars]. He had no use for it, and the top of the plastic shell had been heat-warped by sitting in his car too long, but it worked, still had the remote, and was a suitably cheap TV for my unsuitably cheap studio apartment. I used it for local news and Friends with a set of rabbit ears, VHS movies, and speakers for playing music by connecting a CD player to the single rear input. When I moved to a less cheap 1-bedroom, it came along, and its flat top was flat enough to become a shelf for a DVD player. I got the Dreamcast from Fry's in 2001 after Sega discontinued it and managed to share the composite input between them. That apartment was my crashpad for about a decade before moving to the current orbiting HQ, whereupon I bought a passive-3D flat panel TV and moved the Omnivision to its current location in the back of the house. It shared the RF input between the Inty, and later the Atari 2600, and later still the Astrocade and various Pongs. At any one time there were at least four consoles always connected to it via switches and switchboxes, and I wired up an accessory port for more. plastic was broken and on these TVs that's pretty much the load-bearing part. When it arrived at the mailbox and I unpacked it, I could see the lower half had sandwiched right through the VCR slot, with visible PCB fragments and broken buttons; aside from the tube itself (ironically), the thing was a total loss. The seller nevertheless made good on the refund, to their credit, and I got to schlep it to the recycler. Overall, however, it had occurred to me that there were very few TVs sufficiently contemporary with the M2035 out there, which might be a hint about their general longevity. So, if I was going to be forced to buy a different Panasonic, then it might as well be a more recent one, and it should be one of the "triple play" units (i.e., TV, VCR, DVD) so that I could at least get rid of the external DVD player. Mission: Impossible '88 and '89 DVD sets, where the "in stereo" animation was even burned into the video stream.) not recording and thus impossible to watch many DVDs, for which the Sima CopyMaster was the cheapest solution: it simply blots out that portion of the vertical blank along with the pulses, which also has the side effect of sometimes stripping closed captioning (in the vertical blank as well), though DVDs with proper subtitles are of course unaffected. Later Sima devices could regenerate portions of the vertical blank for better quality, and Macrovision actually sued them over their products in 2005, but later settled. The mixer on the right was purchased literal decades ago at Radio Shack (more specifically a "Video Enhancer Stereo Audio Mixer") that I think we used for a Halloween display exactly once and then forgot about. Here it was used first as a cutoff switch, and second as a way to match the audio volume from the DVD player with the audio volume from the Dreamcast, which was also directly connected to the second rear Y-cable. This TV is mono, so the stereo channels from the audio mixer and the DC get merged using their own Y-connectors (also Radio Shack) before going into the Y-cable to the single line audio input. The video function isn't used here at all; it was just a audio mixer on the shelf I wasn't otherwise using. The DVD player is under the mixer and the CopyMaster, a cheapie Sony special that will only eject discs if it's in the mood or summarily threatened with violence. You already met this system when we adjusted the laser pickup and refurbished its rechargeable battery. you met the Tandyvision One (otherwise identical to the Mattel Intellivision Master Component, and manufactured by them as an OEM) when we installed a composite video modification and a front power-cutoff reset. I later upgraded it with an original Mattel Intellivoice speech synthesizer (Tandy never rebadged these) and a CuttleCart. But you haven't met the Bally on the bottom, officially introduced in 1978 as a game console and simple home computer, sold under various names such as the Bally Professional Arcade seen on early units, later the Bally Computer System badging here, and now collectively referred to under its final incarnation as the Astrocade. These machines were based around a 1.789MHz Z80 (half NTSC colourburst) combined with the same graphics hardware Dave Nutting Associates used for Midway's arcade games Gorf and Wizard of Wor, among others. Unfortunately, much of its theoretical graphics power went unrealized because it only has half the video memory of the arcade units (i.e., 4K) — and that's all the memory it has, so it has to interleave bits in the video memory to store BASIC programs, meaning only game ROMs can take full advantage. Still, that was enough to be solid competition for the likes of the Atari VCS and Fairchild Channel F, and it holds its own well against the slightly later Intellivision. does have is a doozy: the cooling vents are on the underside. These machines are very prone to overheating and can be easily damaged by it, which is why I use two foam struts to keep it off the carpet. The yellow label is for Astrovision, a separate enterprise that had been attempting to develop their own console. The (then) Bally Professional Arcade was selling poorly, though part of this was due to a tardy launch and Bally's weak retail presence, and Bally decided to sell off the consumer products division in 1979. Astrovision, unable to get their unit to market quickly, bought it in 1981 along with a limited license to the Bally name and reintroduced it at Winter CES 1982. Astrovision units are otherwise the same except for the badging and are the most common Astrocades today, though the company became another victim of the 1983 video game crash and went bankrupt shortly afterwards. Simultaneously, an Astrocade derivative merged with Bally's unfinished ZGRASS-100 expansion chassis was reworked into the Datamax UV-1 graphics generator, sold in small numbers until around 1982. the wall warts and power strips, and do a little spot vacuuming with the Roomba. out in spring. Gremlin's Blockade; and a simple calculator and screen paint toy ("Scribbling"). The display is a bit noisier than the Inty/Tandyvision, probably because of the difference in shielding, but still quite good. Videostak Video Game Center, which allegedly could accomodate a VCS, Intellivision or ColecoVision. The front decal is somewhat worn and the woodgrain veneer doesn't match the Vader VCS nearly as well, but it's still a fun-looking setup. Intellivision System Changer which has Atari 2600 hardware in an expansion box for the Intellivision II (useable on the original Inty with modification). It might be fun to explore the reputed irregularities between what is believed to be a VTI clone TIA in the System Changer and the slightly earlier Coleco Expansion Module 1 (and the related Coleco Gemini), and see how they differ in practice. Now for the Pong machines. These attach to the "accessory port" on the input switcher. The current Pong menagerie are mostly MOS 7600-based, MOS' own Pong-on-a-chip: two from Commodore themselves but PAL only using the MOS 7601 (the TV Game 2000K and TV Game 3000H), plus two MOS 7600 (NTSC) systems, a Coleco Telstar Gemini, not to be confused with the Coleco Gemini or Coleco Telstar, and an Allied Leisure Name of the Game II, possibly the earliest use of the chip in NTSC regions. We'll play the Name of the Game II and Telstar Gemini below. These will be consoles for another day, but I also have a boxed Atari Video Pinball, an "honorary" Pong machine though it plays several other games, and a boxed Atari Ultra Pong Doubles, which we had before we got the Tandyvision, but I don't ever recall it working fully and it later failed to power up and got thrown away, so this is a replacement. My least favourite of the Pongs here (I really only picked it up because it was cheap) is a 1977 Magnavox Odyssey 3000. The 3000 is basically an upmarket Odyssey 2000 with proper handheld controllers, but otherwise the same me-too AY-3-8500 Pong-on-a-chip generating the same black-and-white display. Allied Leisure Name of the Game II is a two-player Pong based on the MOS 7600-001. This chip notionally contains three field games (a tennis game, a "goal" game usually billed as either soccer or hockey, and a racquetball game) and a skeet shooter, but the racquetball game can be put into a single player mode by setting it to "four" players and the NotG2's switch triggers this mode in place of the skeet shooter. It was noisy on the other TV and it's noisy here, possibly because it has its own internal RF switchbox, but it plays fine. Coleco Telstar Gemini, an MOS 7600-004 system. This has two "pinball" variants (with flippers and moveable Pong paddles, so it's still a Pong of sorts) and two shooting gallery variants involving shooting a deformed bear sprite. The light gun connector is the same as the Coleco Telstar, so I borrowed the gun from that. sing along with The Offspring. But the output looks crisp through the rear jacks, the sound is proper stereo, and we now have front inputs I can use for something else without rigging a whole bunch of Y-adapters again. Plus, if the Telstar Gemini's gun works, it's all but guaranteed the Dreamcast's does. am likely to play some Video Pinball, and in its box that's easy to move, so that can go on top of the 2600 and the NotG and Telstar Gemini can sit next to it. The old TV is out in the garage and as I have time I'll extract its circuit boards and go over them more thoroughly, since I had a lot of good times with that television and it would be nice to fix. If I do, I'll write it up here, since it's an actual old VCR. Meanwhile, I have some possible projects in mind for the Tandyvision and Astrocade, and maybe some mods to go in the VCS, and you can read about those in future articles too. In the end, with the new TV all set up, the 1980s can live again in my rear office. Or, as my wife likes to point out, they never actually died there either.
By a mile, the iPhone Duo has garnered more questions about what I think about it than any other phone I’ve ever had. It’s clearly a phone that has people intrigued, so I thought I’d jot down some loose, unorganized thoughts about what I think about it after about ten days. If I could sum all my thoughts up into one word, it’d simply be “fun”. I think for the vast majority of people, myself included, the iPhone 18 Pro is a more practical phone that through scientific analysis you’d likely even find a better phone. Even if they were priced the same, its package is more traditionally comfortable and ergonomic, with a better quality main camera, a helpful telephoto camera, a screen that’s more practical to use more of the time, a better biometric system (Face ID versus Touch ID) and a more established software experience. But damn if the iPhone Duo isn’t fun. Phones have been downright boring for so long. Incredible technology, lovely apps, but the hardware has been a bit slow moving since the iPhone X. Maybe that’s why I jumped onto the iPhone Air so readily. Even that slight departure from “black slab of glass” to “a dramatically thinner black slab of glass” was exciting versus what we’ve grown accustomed to. So I pick up the Duo, and it’s kinda just exciting to hold a phone for the first time in ages. Maybe that’s a honeymoon period and after a few months I’ll be over it. Maybe everyone who tries a folding phone for the first time experiences this. And to be clear, it’s not just all raw novelty. The fun aspect is fueled by having an absolutely incredible inner screen that fundamentally transforms what a phone is and can be. In addition, support the Apple Pencil has turned out to be phenomenally handy for me to be able to jot down quick thoughts and notes. For downsides, Touch ID is objectively worse than Face ID, but honestly, I don’t mind it as much as I expected I would. The smaller camera sensor than the Pro series phones is still decidedly great (rumors were it was a 17e size which was not correct, it’s the size of the normal 17’s). Software support gets better by the day, though iOS on the Duo is still decidedly a bit buggy at times. Other random thoughts Touch ID is objectively worse than Face ID, but honestly, I don’t mind it as much as I expected I would, previewing notifications is where I miss it the most After getting used to having a single speaker in the iPhone Air for a year, having stereo (not to mention great sounding) speakers is amazing The FaceTime camera on the inside is indeed not great for selfies/photography but honestly perfectly acceptable for FaceTime, and I’d definitely prefer this solution over a cutout on the inside so I’m happy! It definitely has a heavy feel to it, but it’s nothing honestly that bothersome A lot of the reviews said something to the effect of “the crease is practically invisible” and while I don’t really mind it or anything I definitely would disagree with that statement, you can see it a fair bit even with light content The hinge is a bit harder to open than I expected, I’ve found the secret is don’t pry from the middle of the side, instead put a thumb near the top and bottom (also helps prevent pressing Camera Control instead which I was doing all the time). I imagine this is necessary to have it be able to stop at arbitrary angles once open (which I do like) and hopefully it loosens up a bit with more use, but playing with Android foldables at Best Buy I did find their hinge easier to open I am really split on the inner, nano texture screen. It definitely helps reflections, has a neat look to it, and is super nice to draw on with the pencil, but it’s significantly less vibrant than the outer display which to my eyes looks a fair bit nicer. I think they made the right decision ultimately but it’s definitely not a zero-compromise solution. I was considering nano texture on my next MacBook but after this I think I’ll stick with glossy. My glass half full take with the Duo for now though is that we get two really cool screens to play with The outer screen is awesome for taking photos, unlike taller iPhones, your viewfinder fills the screen completely so it’s the largest feeling viewfinder I’ve used on a phone I miss the action button, nice little launcher for ChatGPT/Claude depending on which month it is Battery life is downright phenomenal versus my iPhone Air and 15 Pro (two devices admittedly not known for having great battery life) So, I don’t think the Duo is for most people who either don’t care much about phones, or care a lot about having the perfect phone, but for a decent amount of people in the middle I think the Duo represents a fundamentally different experience, that’s a ton of fun, and I’m excited to be excited about a phone again. (But, Apple, please figure out a way to add a telephoto lens.)
