November 2025 - Lon Seidman & Lon.TV Blog

The FPGA Retro Gaming War Kicks Off: Analogue’s “Labubu Economics” vs. Palmer Luckey’s Loss Leading ModRetro

My latest video digs back into FPGA-based retro gaming hardware, sparked by the arrival of the Analogue 3D that landed on my doorstep last week.

As someone who has followed Analogue for years and bought most of their consoles as they’ve rolled out, I’ve noticed the rhythm their products follow. The devices show up, YouTube channels light up with praise, interest spikes, and there’s no stock to meet the demand.

The newest Analogue 3D console is no different. It’s a well-constructed machine that very accurately replicates the Nintendo 64 experience with modern conveniences, but like nearly everything Analogue sells, it was gone almost immediately.

Their previous systems—the Mega SG, the Super NT, the NT Mini, and even their handheld—are all unavailable, with no reliable guidance on restocking. It’s become a familiar cycle: excitement, scarcity, and the inevitable rise of inflated eBay listings.

As with Labubu collectibles, another scarce item I’ve had some dealings with (for my daughters of course), drops happen at set times, queues form instantly, scalpers scoop up a large share, and buyers who miss the window pay double or triple later.

The usual assumption is that this is artificial scarcity, but in this case the shortage may have more to do with components and Analogue’s ability to cover manufacturing costs. The FPGAs that power these consoles are in high demand across many sectors, including defense and aerospace, where their massively parallel architecture is especially valuable. That demand affects both availability and cost.

When a company like Analogue is already producing hardware with expensive metals, premium plastics, and custom manufacturing, it’s easy to see how difficult it becomes to scale production without taking a loss – especially with volatile costs of the raw materials making holding inventory a risky endeavor. Even so, the limited customer base for FPGA retro devices also shapes how companies approach supply. These aren’t mainstream gadgets, and for many people, emulators, Switch Online libraries, or even original hardware are good enough. The buyers who care about fidelity and accuracy are passionate but small in number.

That’s why the arrival of ModRetro has captured so much attention. Their first device, the Chromatic (compensated affiliate link), is a Game Boy-style handheld built from magnesium with an optional sapphire screen. It’s over-engineered in ways that resemble Analogue’s philosophy, but what sets it apart is that it’s actually in stock. You can check out my review of it here.

The company is also preparing an FPGA-based N64 clone called the M64, with a controller designed to emulate the original’s feel. ModRetro’s founder, Palmer Luckey, has made it clear that he approaches these products as passion projects rather than profit centers. His resources give him access to supply chains most companies can’t tap, especially given the FPGA needs of his current day job, a defense contractor startup called Anduril. That may allow ModRetro to maintain consistent inventory where others can’t, shifting the dynamic of this small market.

Other options are emerging for people trying to enter the FPGA space without playing drop-day roulette. The MiSTer project remains one of the most flexible and capable FPGA platforms available, covering everything from the PlayStation and Saturn down to early arcade and computer systems.

But even Mister hardware and accessories are caught up in the same supply issues. Some vendors are sold out not only of their core boards but also the add-ons required to run the cores effectively. But there are some promising alternatives that can get a fully functional FPGA system into your hands without having to play games to get one.

The Mister Multisystem 2 offers a more accessible path even though it too is currently out of stock. The Multisystem makers have an ongoing production strategy and a queue-based shipping system that doesn’t require watching a countdown clock.

Taki Udon’s upcoming SuperStation One blends Mister functionality with a PlayStation-focused form factor. Taki collects orders in batches and ships them following production. Currently the SuperStation One is taking orders for a batch that will ship in the first quarter of 2026.

Analogue now faces pressure from multiple directions. Their high quality products continue to attract attention, but scarcity and unpredictable restocks leave buyers discouraged, and a community this small notices quickly when a company seems unresponsive.

Enthusiasts increasingly recognize that a MiSTer setup costs less, does more, and isn’t tied to hype-driven scarcity. With new systems from ModRetro and Mister-based makers on the way, the market is likely to become more competitive. I have several of these systems on order myself, so there will be more reviews coming as they arrive. For now, the retro FPGA landscape is shifting, and companies that want to stay relevant may need to rethink how they balance demand, supply, and the patience of the people who want to support them.

Testing the New Analogue 3D FPGA Nintendo 64 Console with Flash Cartridges : SummerCart64 & Everdrive

I finally got my Analogue 3D this week, a system I ordered more than a year ago. If you haven’t encountered it yet, it’s a modern FPGA recreation of the Nintendo 64 meant to run original cartridges with clean output on current displays. These consoles tend to ship in limited runs, and once they’re gone, they’re usually gone for good, so I jumped on this one when preorders first opened.

Because much of the early coverage focused on its features, I wanted to do a bit of a deeper dive on compatibility questions, especially around flash cartridges. I brought out my older EverDrive 64 and my SummerCart64 I reviewed recently.. I also tested a BlueRetro Bluetooth adapter designed for original hardware to see how far I could push the Analogue 3D beyond standard carts.

You can see it all in action in my latest retro video!

To set a baseline, I first tried everything on an actual N64. The EverDrive behaved as expected: it loaded a homebrew title called Sticks from its SD card, saved progress correctly, and performed normally across a few commercial games. The SummerCart64 worked too, and I was able to run F-Zero X alongside its 64DD expansion disk. And my Bluetooth mouse worked through the BlueRetro adapter when I loaded up the Mario Paint 64DD title. Nothing surprising there.

On the Analogue 3D I tried the EverDrive first. The system simply didn’t see it, even after reseating it a few times. This older V2 Everdrive64 hardware appears to be a dead end for now. Newer EverDrives have already received a firmware update that adds compatibility, although those updates have to be applied using an original N64. But in my case the older Everdrive cart will likely not work at all.

The SummerCart, on the other hand, worked perfectly. The menu appeared, games booted, and saves from Wave Race 64 wrote correctly to the SD card. From there I tested the 64DD functionality, loading the F-Zero X expansion image the same way I did on real hardware. It launched, loaded its special tracks, and ran without issue. Given that this setup pushes accuracy and timing quirks pretty far, seeing it work at all was encouraging. The homebrew game loaded without issue and the BlueRetro mouse features worked just fine too.

There are a few quirks worth noting. The Analogue 3D treats the Summer Cart as a single “game,” which means display settings don’t persist per title the way they do when you insert individual cartridges. The Analogue 3D has a number of per-game settings that can be adjusted including scanlines, video processing and overclocking. But because it sees the SummerCart as a single title, you’ll need to adjust those settings each time you load a game.

Based on what we’ve seen with other Analogue products, it’s likely that an unofficial “jailbreak” firmware will eventually allow SD-card game loading directly through the console’s SD card slot. That has happened with nearly every device they’ve released. If that occurs here, it may open up broader compatibility and more options for people who don’t have a full library of cartridges.

Now that I’ve had some hands-on time with the system, I plan to hang onto it while waiting to see how the firmware evolves. I also might take a fresh look at the rest of the Analogue hardware I’ve collected over the years—each one has effectively become a short-run collector’s item.

About That NAB “Keep Football on Free TV Ad”

Some viewers have been seeing an ad during football games urging viewers to text a number to “keep football free,” and after looking into it more closely, it became clear that what’s happening here isn’t what the ad suggests.

The spot positions itself as a warning about streaming services taking football away, but the goal appears to be getting fans to send form emails to Congress in support of loosening broadcast ownership rules. That effort benefits the large corporations that own most local stations, not the people watching these games.

In my latest video I take you through a number of misleading statements the broadcasters are using to trick football fans into their astroturf advocacy campaign.

The ad frames streaming platforms as the cause of rising costs, but the broadcasts featured on Prime Video, Netflix, and YouTube TV are still produced by the major networks. NBC produces the Thursday night games for Amazon. CBS Sports produced the Christmas Day game that ran on Netflix. The Super Bowl that aired in 4K this past year on YouTube TV came from Fox’s production. These aren’t original productions from the streamers. They’re network broadcasts delivered by different means, often using the same crews, the same equipment, and in some cases even the same production partnerships that handle network television.

The reason networks are turning to streaming platforms versus their local broadcast affiliate partners seems tied to the economics of local broadcasting. As cable and satellite subscribers have cut back due to ever increasing costs, local stations have leaned heavily on retransmission fees from pay-TV services. Those charges have steadily risen, and they show up whether someone watches over cable, satellite, or a streaming bundle. My own cable bill before I dropped it climbed from about $33 in local TV fees last year to over $38 this year. That pattern has repeated across the country. As more customers leave cable, the fees for those who remain increase to compensate. Not a very good economic model!

At the same time, many broadcasters have been signaling that the new ATSC 3.0 television standard gives them the flexibility to charge for some over-the-air channels. They would still provide one free stream, but additional channels could become paid offerings. This isn’t speculation; companies like Sinclair have stated this directly in filings with the FCC.

Alongside that, stations have begun encrypting these new signals and limiting how viewers can access them. Devices like the HDHomeRun, which let people stream over-the-air channels around their homes, are blocked unless the manufacturer receives permission from the broadcasters. Approved devices must remain directly connected to the antenna and TV, disabling features that consumers have taken for granted—such as in-home streaming or out-of-home access while traveling. Even emergency information could become harder to receive if these encrypted signals can’t be freely tuned.

When viewers text the number in the ad, they’re funneled to a site that collects their personal information and sends a pre-written email to Congress and FCC commissioners. That email can’t be edited and specifically pushes for relaxed station-ownership limits. Those limits exist to prevent any one company from dominating local markets, but in recent years large groups have been consolidating anyway.

A pending deal between Tegna and Nexstar would knit together two already sizable owners into one of the largest station groups in the country. Sinclair’s footprint is similarly extensive. The larger these conglomerates become, the more likely they are to merge or eliminate local newsrooms, centralize weather coverage, or replace market-specific reporting with generic content produced elsewhere. Examples of these changes are already visible, from stations reducing local newscasts to companies experimenting with centralized anchorless news segments or attempting to replace entire meteorology staffs with feeds from national services.

The ad’s promise of protecting free football doesn’t reflect what’s actually happening. If anything, consolidation and encryption will make TV more expensive and less accessible.

The one area where the public still has leverage is the ongoing FCC proceeding on broadcast encryption. This is the moment where viewers can register their concerns about how restrictions on recording, streaming in the home, and traveling with content could affect them. Anyone interested in that process can find resources on how to file comments and understand the issues at stake.

There’s a flag down on this play, and it’s worth taking a closer look at what these campaigns are really asking viewers to support.

Time to File! The FCC’s Next ATSC 3.0 Comment Period has Begun

This week, the FCC’s recent ruling became official as it’s now published in the Federal Register. This means that the 60 day comment period begins today.

As I note in in my latest video, there isn’t as much for the public to respond to as there was before. The broadcasters, however, have a lot to answer in regards to how they’ve been handling the DRM situation. More on that here.

Tyler the Antennaman and I are recommending that if you decide to submit written testimony on the docket to include photos of yourself along with the encryption messages you’re receiving when trying to tune DRM protected content. This can come from either your HDHomerun device or some of the other ATSC 3.0 tuners that require an Internet connection. You can see an example based on my filing here. Here’s the photo that I embedded.

One thing I noticed is that the FCC accepts Powerpoint files on the docket that are under 100MB in size. You could embed videos in a Powerpoint presentation in addition to photos.

Before you file, be sure to check out the Antennaman’s latest video about sticking to the facts and submitting information that can be of use to the commission. In my video, I have a step-by-step guide for filing documents on the FCC docket.

You can find the FCC’s electronic filing system here.

More to come. I’ll be monitoring the docket and will let you know when we need to respond to falsehoods.

Budget Roku Project Review: Aurzen D1R

I recently spent some time with what is now the second Roku-integrated projector to hit the market, a lower-cost model from the same company that produced the first. This one does much of what the earlier one did, it comes in at a lower price (compensated affiliate link) and with a few compromises.

You can check it out in my latest review!

The most noticeable difference is brightness. At around 280 ANSI lumens, it’s dimmer than the already-modest output of the more expensive version, which means it really needs a completely dark room to look its best. In a typical office environment with lights on, the image was barely visible, so blinds and darkness are key to making this unit workable. Once the room is dark enough, the image looks similar to the brighter model, suggesting the optics are largely the same.

Aside from brightness, the cuts are mostly in audio. The built-in speakers are small and thin-sounding, especially compared with the fuller audio on the company’s higher-end projector. For a movie night, plugging in external speakers through the headphone jack would be a better approach. The projector does at least preserve the connectivity of the earlier version: a USB port for media files, HDMI for external devices, and full access to the Roku TV environment, which includes Netflix and other mainstream apps with no restrictions.

Gaming wasn’t a strong point on the previous model and it isn’t here either. Input lag measured is among the worst projectors I’ve tested and is too slow for twitchy games and noticeable even in “game mode.” For slideshows or basic non-interactive content, that lag doesn’t matter much, but anyone considering it as a budget gaming display should temper expectations.

The experience of its built-in interface feels familiar if you’ve spent time with any Roku TV. It’s responsive enough, similar to Roku’s lower-end streamers, and apps like Netflix and YouTube performed normally delivering 1080p visuals and decent performance at 60 fps on YouTube.

The projector also carries over some conveniences from the earlier model, including autofocus and auto-keystone each time it’s moved or powered on, with manual adjustments available in the settings. There are no physical adjustments, however, it’s all done via software. Casting support is broad—YouTube casting works as expected, AirPlay functions nicely with iPhone and Mac, and I was even able to run a Keynote presentation using dual-display mode, with presenter notes on the phone and slides on the wall. Miracast works too, giving Android and Windows users options. The Roku mobile app adds private listening, a better on-screen keyboard, and shortcuts into apps or titles.

All of Roku’s usual privacy toggles are here as well, and by default they’re switched on. Automatic content recognition, in particular, is worth disabling if you prefer not to have HDMI input fingerprinted for advertising data. A few settings pages take care of that, and it’s something worth doing on any Roku TV device.

As a budget projector with Roku built in, this model delivers what it promises. It runs mainstream apps reliably, produces a watchable image in the right environment, and includes the Roku conveniences people are used to. It’s not bright enough for daytime use without dark room conditions, and it’s not a gaming display by any stretch. But with expectations set accordingly, it fits the niche it aims for.

See more projector reviews here!

OhSnap Mcon Review

My review the new Ohsnap Mcon game controller is another one that YouTube has chosen not to put in front of you. But as a subscriber to this email list you now know about it! :).

You can find the Mcon at OhSnap at this compensated affiliate link. It will automatically apply a discount.

It’s built around a MagSafe-style magnetic mount, so the phone snaps onto a metal plate on the controller and it then snaps out to reveal a compact game controller. The first thing that stood out when I tried it was the release mechanism on the back. Pressing the button sends the spring-loaded section shooting out with more force than I expected. It doubles as a protective shell when closed, which makes it easier to toss into a bag without worrying about damaging the sticks or buttons.

The layout is familiar but it’s scaled down for portability. The analog sticks sit recessed into the body and use Gamesir magnetic sensors that are similar to hall effect designs. They controlled better than I expected, with firm tension and smooth travel, though there’s a gap that opens during full movement where dust could get in. The triggers also use hall effect sensors, and the shoulder buttons feel standard for a compact controller. The D-pad uses individual buttons rather than a rocker, which made errant diagonals more common in games that require precision. For more forgiving titles it wasn’t as noticeable, but it’s something I noticed right away.

One of the more flexible features is the removable top plate, which detaches with an eject button and turns it into a phone stand. With the plate off, the controller acts like a traditional gamepad.

The mounting plate allows for vertical phone mounting by sliding the magsafe mounting plate off. This is perfect for emulating retro “tate” games that had their original CRT monitors mounted sideways.

I tested the controller with several devices. An iPhone identified it as an Xbox controller and worked over Bluetooth and USB-C. Android phones, tablets, and a TV box paired without issue. It connected to a PC easily, though adjustments in muscle memory were needed for games I typically play with a larger controller. The triggers feel more like shallow shoulder buttons, and camera control required lighter movements than I’m used to. There is no rumble motor, so games that rely on haptics won’t provide feedback. The Switch and Switch 2 didn’t pair at all despite marketing language suggesting compatibility, so that may depend on a future firmware update.

Latency was tested by recording inputs at high frame rates, and USB-C delivered response times similar to other current wired high poll rate gaming controllers. Bluetooth on a gaming laptop didn’t add much latency. But devices with slower bluetooth controllers (usually found on phones and tablets) might introduce more latency.

The Mcon’s portability stands out more than anything. The folding design protects the hardware, and the extendable handles help offset the weight of the phone during play. The detachable top plate gives it some versatility if I need to switch from mobile to desktop use quickly. There are trade-offs in control size and precision, especially with the D-pad, and some small build quirks showed up on the early unit I received. But after using it across devices and different types of games, it fits into the category of controllers that aim to travel well while still feeling reasonably familiar.

Testing a controller always comes down to whether I can forget about the hardware and just play. This one didn’t disappear entirely, but after a little adjustment, it settled into something workable. And once I got used to that unexpectedly aggressive spring-loaded pop, I stopped flinching every time I opened it.

See more game controller reviews here!

Disclosure: Ohsnap sent the Mcon for review free of charge but no other compensation was received. They did not review or approve my content before uploading and all opinions are my own.

Cracks in the Over the Air TV DRM Cartel?

I’ve been following the fight over the encryption of broadcast television for a while now, and the past couple of weeks have revealed some meaningful shifts in how parts of the industry are talking about it. What began as an effort by the largest broadcasters to impose full encryption on their signals—making it harder for people to watch and record over-the-air television the way they do now—has moved into a phase where even some of the people who helped build the system are beginning to question whether it’s the right path forward.

You can learn more in my latest ATSC 3.0 update.

The FCC’s pending public comment period is still waiting on publication in the Federal Register, but in the meantime I’ve been watching the trade press. One notable development is SiliconDust becoming an official ATSC 3.0 certificate authority. This isn’t a replacement for A3SA’s DRM system, but it does give broadcasters an alternative for the broadcast identification certificates that 3.0 will eventually require. It’s another sign of how fragmented and privatized the standard has become—functions that once sat squarely with the FCC now depend on private bodies asserting control, and smaller stations are looking for options that don’t leave them answerable to a handful of major corporations.

Then there’s the more direct crack in the wall: an op-ed from Fred Baumgartner, a former Sinclair executive who helped lead their NextGen TV implementation. He’s now arguing that encryption should be paused. He describes the rollout as abrupt, poorly communicated, and alienating to early adopters—many of whom discovered their new TVs and receivers couldn’t display encrypted 3.0 broadcasts at all. He also points out that encryption shifts broadcasting away from what it has been for decades, turning it into something closer to narrowcasting. Coming from someone who helped architect the system, it’s a notable departure.

Sinclair’s current leadership didn’t let that stand unanswered. Sinclair VP Mark Aitken responded in a follow-up piece, insisting that encryption doesn’t hinder access when “properly implemented,” a phrase that glosses over the very real fact that devices already in people’s homes cannot tune these encrypted broadcasts. Aitken also frames “free unencumbered access” as applying only to a single primary channel—essentially signaling that everything else could move behind a paywall. It’s hard to see how that squares with why people use antennas in the first place, especially those who cut the cord to avoid paying retransmission fees.

Baumgartner doubled down in a second response, saying he has tried and failed to articulate a scenario where the benefits of encryption outweighed the downsides. He also warned that the approach invites regulation, a point the FCC itself has raised as it asks broadcasters to justify why encrypted over-the-air signals are appropriate in a system designed to serve the public. That debate will continue once the comment window opens, but it’s already clear that consensus is faltering inside the industry itself.

As for what happens next, I’m planning to submit my own filing once the comment period officially begins, including photos of the devices in my home that can no longer tune freely available broadcast channels because of encryption. Many people submit only text, but showing the real-world impact could help contextualize what’s happening. These public airwaves belong to everyone, and documentation from the people affected is part of what keeps the process grounded.

There’s still a long way to go, but seeing industry veterans rethink their stance—and watching the FCC press for answers we’ve been asking for—feels like a shift. It’s not final, and it’s not enough on its own, but it’s movement.

I’ll keep an eye on the Federal Register and on the broadcasters who seem to be discovering that the path they set may not be as defensible as they once thought.

The Modretro Chromatic is a Modern Gameboy / Gameboy Color Handheld Powered by an FPGA

In my latest video that YouTube is not showing to my subscribers, we take a look at the ModRetro Chromatic – a modern handheld that plays the full library of Game Boy and Game Boy Color cartridges. It even ships with a modern version of Tetris that company published and released on a physical cart.

Priced at $199 (compensated affiliate link), this is a definitely a premium device for gamers of a certain age, but its features and build quality justifies its price tag in my humble opinion. If $199 wasn’t enough, there’s a version with a sapphire glass screen that costs $299. But given what I’ve seen with the base model, the sapphire one is overkill.

The build is all metal, something you feel right away in the weight and feel of it. It’s sturdier than the original Game Boy hardware ever felt. The layout mirrors the Game Boy Color closely, though I ran into some accidental diagonal inputs on the D-pad. The firmware includes an option to disable diagonals, and once I did that, games like Tetris behaved much better.

The display is a super low-resolution 2.56-inch IPS panel running at 160×144. It’s so low-res that the pixels are clearly visible at normal viewing distances. That isn’t a flaw—it recreates the “dot matrix” look of the original hardware in a way software filters don’t always get right. Even though the screen is modern and backlit, it carries forward that dot-matrix character. Audio comes through a surprisingly loud speaker, controlled by a physical volume wheel that allows for quick adjustments without diving into menus. There’s also a link port for multiplayer with another Chromatic, a Game Boy Color, or potentially even an Analog Pocket when running compatible games.

Power comes from three included AA batteries, though an internal rechargeable pack is available. The battery door is metal as well, maintaining the overall build quality. On the bottom edge there’s a headphone jack and a USB-C port, and the USB-C implementation is more versatile than I expected. It can power the device, charge the optional battery pack, update firmware for both the console and Chromatic cartridges, and back up save data from both Chromatic cartridges and original battery-backed Game Boy carts. It also outputs video over USB as a standard webcam device with essentially no latency, making it easy to capture gameplay in OBS or other recording software. You do need to be plugged in to record—there’s no internal capture option.

But returning to a time of physical games and cartridges is really the point here. I dropped in some old favorites, including my three decade-old and well-traveled copy of Solar Striker, and the games behaved just like they do on a Game Boy Color. Anything beyond that lineage, like Game Boy Advance games, isn’t supported because this is a strict Gameboy Color hardware replica built around an FPGA. That’s similar in concept to the Analogue Pocket, but the focus of the Chromatic is entirely on the Game Boy and its Color successor.

When I plugged in an old copy of Qix that my dad brought back from Japan years ago, the Chromatic behaved like a Game Boy Color would. It selected a color palette on its own, and I could flip through other palettes in the sidebar menu, including faithful recreations of the Game Boy and Game Boy Pocket color palletes. The effect is especially convincing given the low-resolution screen. The settings menu also includes display tweaks like frame blending, which helps older games look a bit more like they did on the original slow-refreshing LCD, and options for brightness, audio, and various system indicators.

What’s neat is that the packed in Tetris cartridge works on original hardware too. I tested it on my twenty-seven year old Gameboy Color and it played perfectly including loading the save game file. It’s part of a small but interesting lineup of reissued and newly published cartridges ModRetro is selling for the platform.

Because this is a hardware-accurate device and not an emulator, it doesn’t load ROMs or offer save states by default. But flash cartridges work, including my older EverDrive GB. Games, ROM hacks, and homebrew all loaded without issue, and newer flash carts with save-state support should work as well.

Palmer Luckey, who founded Oculus, is behind the Chromatic project, and the choices here clearly lean toward preserving a very specific look and feel. For people who want a faithful Game Boy or Game Boy Color experience with modern conveniences, that’s the appeal. For people looking for more flexibility, other devices open up a wider range of systems and features.

There are plenty of alternatives depending on what you’re looking for. Original hardware can be outfitted with modern IPS screens for less money. There are build-it-yourself FPGA handheld kits that deliver a similar experience. And for a little more than the Chromatic, the Analogue Pocket offers a much broader range of supported systems along with SD card loading and community-developed cores. Its display is much higher resolution, which is great for versatility but changes the visual character of Game Boy games unless you apply a software-based dot-matrix filter.

As someone who grew up with these games, it’s been interesting to watch this whole ecosystem of new hardware, flash cartridges, and reissued carts evolve. Some of it improves on the original experience, some of it like the Chromatic leans into preserving quirks, and I seem to be slowly collecting all of it!

See more retro gaming videos here.

Easing USB-C Cable Confusion with Testing Devices!

USB-C has been with us for over a decade now, and we have ten years worth of confusion to show for it. Two cables might appear identical, yet one will push 40 gigabits per second and 240 watts while another barely manages USB 2.0 speeds and 15 watts. Often there’s no marking, no clue, and no real way to know what a cable can handle until it fails at an inconvenient moment.

That’s what pushed me to pick up two cable testers from Amazon, one inexpensive and one considerably more advanced to get to the bottom of what’s tangled up in my rats nest of USB-C cables.

Check it out in my latest video.

The simpler of the two, from a company called Treedix (compensated affiliate link) lights up its board with pin-by-pin results. It works, but it asks you to know USB-C well enough to interpret what each light means. The more expensive unit, called the CaberQu (compensated affiliate link), offers a cleaner readout with data rates, supported modes, power levels, and even cable health. It also identifies the manufacturer and can sync its results to a mobile app. That turned out to be surprisingly useful for labeling cables and keeping track of what each one can actually do.

Running different cables through both testers made the differences obvious. A cable that was labeled at 40 Gbps and 240 watts really did meet those specs. Another cable that looked nearly the same topped out at USB 2.0 speeds and only 15 watts. One of my mystery cables supported 100-watt charging but only USB 2.0 data. These testers don’t stress-test power delivery, but they do verify what the cable is built to handle.

The testers didn’t always agree on Thunderbolt 3 cables, though—the CaberQu consistently read them at 20 Gbps when they should be twice that. My Mac reports 40 Gbps when I use them, so I’m chalking that up to a firmware quirk.

USB-C isn’t the only thing these tools can handle. The Treedix tester accepts USB-A and USB-B connectors too, and it confirmed the performance markings on several older cables. I even fed photos of the indicator lights to an AI model, which interpreted the pinouts pretty accurately—useful for anyone who doesn’t want to memorize USB diagrams. CaberQu’s makers tell me that USB adapters can be used on their product for older cables.

USB cables aren’t required to go through a certification process the way Thunderbolt cables are. A Thunderbolt cable must be certified to carry the logo. USB cables do not, though USB-IF is beginning to roll out an optional certification process. That means plenty of cables on the market claim capabilities without a third party ever confirming them.

After working through my collection, I’m glad to see tools like these that can remove a lot of uncertainty around USB-C. But the fact that we need tools like this underscores just how consumer-unfriendly the USB standard has become.

HyperMecaTech Super Pocket Review – Evercade Compatible Handhelds

My latest Gadget Picks channel review is of a pair of retro-themed handhelds called the Super Pockets, which come from the same folks behind the Evercade ecosystem. Amazon has these in stock along with Evercade cartridges (compensated affiliate link).

You can see my review here.

The two units I looked at were the Neo Geo and Capcom editions, each loaded with a set number of arcade titles. The Neo Geo version includes 14 games and the Capcom one has 12, and both are designed to be self-contained devices that can also accept Evercade cartridges. The built-in games aren’t removable, and the spacer in the shell is just a bit of plastic, but physical Evercade carts (affiliate link) work the way they do on the other devices in the line.

Each model looks different and comes with different games, but the underlying internals are the same. They use a 2.8-inch IPS display with a 4:3 aspect ratio and a 320×240 resolution. It’s a small screen but sharp and responsive, and input lag didn’t stand out as an issue. They’re compact units overall, and I found the ergonomics a little tight. The main buttons and D-pad are fine, but the rear buttons required by some of the Capcom fighters can feel cramped.

Most of the fun comes from the quality of the included libraries. The Capcom device brings in well-known arcade staples along with a few titles that required some creative control mapping, like Forgotten Worlds, which originally used a spinner. The Neo Geo model includes Metal Slug X among other familiar names. Not every title you might expect is here, and that may matter if you’re looking for a specific favorite, but the mix covers several genres and feels thoughtfully selected.

Gameplay is handled through a menu system that lets you create and load save states. From there, switching between games is quick. Getting out to the main launcher gives you a clean grid of the available titles. As was the case with the original cabinets, some games like Metal Slug still exhibit the slight slowdown they were known for, which feels true to the era.

Battery life is modest at around four hours, though the devices can run off USB-C power or an external battery. There’s a 3.5mm headphone jack, and no wireless or online features to worry about. Firmware updates are possible, but at the moment only through Windows and only when tethered to a PC. Out of the box, there’s no account setup or onboarding—just switch it on and start playing.

I also tried the Evercade cartridges they sent along. Each comes in a plastic case with artwork and a small manual inside, and the carts slide into the back of the handheld similar to a Gameboy. To access cartridge games, you quit back to the main menu, open the Evercade section, and let the handheld read the cart. From there, the titles load and function the same as the built-in ones, complete with save states and quick access to control instructions. Elevator Action and Operation Wolf were on the two Taito cartridges I tested. Operation Wolf originally used a mounted Uzi-style light gun, so the D-pad-controlled reticle takes a little mental adjustment, but the gameplay is intact.

These handhelds aren’t open platforms and don’t have an established jailbreak, so you’re limited to the built-ins and whatever Evercade cartridges you add. For casual pick-up-and-play sessions or for someone who has a soft spot for specific Capcom or Neo Geo titles, they are similar to other licensed mini collection hardware devices.

The difference here is the ability to expand them a bit with physical carts, which seems to be a large part of Evercade’s appeal. Collectors get something tangible, and the devices themselves remain simple and offline.

Disclosure: The handhelds and cart were sent to the channel free of charge by the manufacturer. However they did not review or approve this content prior to uploading and not other compensation was received.

The FCC Vote on ATSC 3.0 Opens a New Comment Period on DRM, Tuner Mandates

For the past couple of years, viewers like us have been urging the FCC to rein in broadcasters who want to lock down free antenna signals with encryption. These broadcasters would prefer you watch through paid services that generate retransmission fees, but many of us have been pushing back to preserve the ability to view and record free local TV as we always have.

In my latest video, I talk about a recent vote the FCC took on moving to the next step of the process which includes a significant focus on DRM.

Back in August, Tyler the Antenna Man and I visited the FCC to deliver those concerns in person. A few weeks ago, the commission released a draft order that reflected much of what we presented. The document included serious questions for the industry about how they’ve been handling DRM under ATSC 3.0 and whether their current encryption practices even comply with the Communications Act. The FCC also asked whether regulation of DRM should fall under their authority rather than a private group like A3SA as it does now, and if privacy protections and fair-use rights need to be written into formal rules rather than left to voluntary standards.

Two commissioners, Republican Olivia Trusty and Democrat Anna Gomez, acknowledged the discontent members of the general public are feeling about the ATSC 3.0 transition and committed to ensuring the public interest is a priority in future decision making.

The commissioners voted unanimously to move the process forward. While no new rules are in place yet, the order proposes ending the simulcast requirement that forces stations to broadcast in both ATSC 1.0 and 3.0, and it opens another round of public comment. Once it’s published in the Federal Register, there will be 60 days to file comments and another 30 for replies. That’s our opportunity to make sure the record reflects real-world experience—what it’s actually like trying to tune encrypted 3.0 channels when current devices can’t play them back.

I plan to continue submitting evidence that counters misleading claims from the broadcast lobby. For example, a Sinclair executive recently asserted on LinkedIn that ATSC 3.0 works on phones, tablets, and gateway devices. It doesn’t. I tested every configuration he mentioned—USB-C tuners, set-top boxes, network gateways—and none could decrypt the DRM-protected broadcasts. SiliconDust’s HDHomeRun, which he cited as compatible, has been locked out entirely from A3SA’s system. The president of Silicondust even appealed directly to the FCC for relief. When industry talking points like that appear, I post photographic proof of what consumers actually encounter: a black screen where free TV used to be.

One other example occurred on the official docket. In a filing, broadcasters reversed their position on tuner mandates. Just a few years ago they told the FCC to stay out of hardware requirements. Now they’re asking for mandatory ATSC 3.0 tuners, even though DRM complexity has made manufacturing affordable devices nearly impossible.

As the next comment window opens, I’ll share updates through an email list at lon.tv/rapidresponse and a set of instructions at lon.tv/fccinstructions for anyone who wants to participate. This FCC seems more receptive to the public than prior FCC’s, but the chairman is moving quickly, so timing will matter. When broadcasters spread misinformation, the best response is data—photos, test results, and honest firsthand accounts. That’s how we keep the record straight and make sure free, open access to local TV doesn’t quietly disappear behind a paywall.

The Disney vs. YouTube / Google Dispute Gets Even Worse..

I’ve been following the latest corporate clash between Disney and YouTube, and what’s striking is how much it mirrors the cable disputes of the past—except now it’s happening in the streaming world.

I dive into what’s going on in my latest video.

If you subscribe to YouTube TV, you’ve likely noticed the fallout firsthand. Disney’s channels—including ESPN and local ABC affiliates—have vanished due to a carriage dispute. In addition to losing live television, anything recorded on the YouTube DVR has disappeared too. Those recordings were effectively part of the licensing agreement, not owned by the user doing the recording, and that license is now suspended.

The tension doesn’t stop at television. Disney has also pulled all of its movies from Google’s digital stores, including YouTube and Google Play. That means you can’t buy or rent new Disney titles there anymore. Meanwhile, Google has withdrawn from the Movies Anywhere service, a consumer-friendly platform that let users sync digital movie purchases across multiple services like Apple TV, Prime Video, and (formerly) Google Play. I’ve always appreciated that system—it offered rare flexibility in a digital landscape full of restrictions—but now, for Google users at least, it’s no longer working the way it used to.

Underneath these disputes is a deeper problem: the TV industry’s outdated economic model. There was a time when networks competed on content quality and ad revenue. Now, they rely heavily on retransmission fees—payments from cable or streaming services that carry their channels. As customers cut the cord to escape rising costs, networks have responded by hiking prices even more, a cycle that keeps pushing people away.

I saw it myself before I canceled cable; I was paying $35 a month just for local TV channels. Those fees have crept into streaming too—YouTube TV’s base plan has climbed from $35 in 2017 to $83 last year, and more increases are likely if these negotiations continue to go badly for streamers.

Broadcasters, rather than adapting, are lobbying for rule changes that would let them negotiate retransmission deals station by station instead of through national networks. That would almost certainly mean higher prices and more blackouts, similar to what legacy cable customers face. They’ve packaged the effort under the guise of supporting local news, but the real motive is to extract more revenue from platforms like YouTube TV. Consumers end up paying the price, both figuratively and literally.

At the same time, the broadcast industry is making over-the-air viewing less accessible. With the rollout of the ATSC 3.0 standard—also called NextGen TV—broadcasters are adding encryption that limits what viewers can record or stream inside their own homes. It’s another way of nudging people back toward paid streaming, where networks can charge retransmission fees and control access.

All of this paints a bleak picture for consumers. The fight between Disney and Google is about who gets to collect your subscription dollars, not about improving the viewing experience. While they posture in the media against each other, viewers lose access to channels, movies, and services that once worked seamlessly. I still buy physical media for that reason—Blu-rays with digital codes I can redeem independently of these shifting corporate agreements. Those discs can’t be taken away from me in a dispute.

Eventually, Disney and Google will almost certainly strike a new deal. But when they do, the outcome is easy to predict: everything will return, and it will cost more. In the meantime, it’s another reminder of how little control consumers actually have in the streaming age, and how quickly “your” digital library can turn into theirs again.

GMKTec M6 Ultra Mini PC Review

The GMKtec M6 Ultra (compensated affiliate link) is a compact mini PC powered by AMD’s Ryzen 5 7640HS processor. It’s a six-core, twelve-thread chip that’s not the newest but still holds up well for general desktop and home-server use.

You can see it in action in my latest Mini PC Review.

https://www.youtube.com/watch?v=8ZMydifq8KU

Inside, the M6 Ultra is easy to open and upgrade. The RAM is installed in pairs—something that helps the processor reach its full potential—and it can be expanded up to 128 GB. Mine came with 32GB. There are two NVMe slots inside; one is used by the pre-installed SSD, but the other is open if you want to add storage or dual-boot a Linux installation.

The port selection is solid. There’s a front USB-C port that supports USB 4 at 40 Gbps, capable of driving an 8K display or connecting an external GPU. You get two USB-A 3 ports and one USB-A 2.0 port, HDMI and DisplayPort outputs (each supporting 4K at 60 Hz), and two 2.5 Gb Ethernet jacks. In my tests, both Ethernet ports delivered full multi-gigabit speeds, though the built-in Wi-Fi 6 radio lagged behind—fine for occasional use, but not ideal for heavy data transfers. The fan was quiet during normal use and modestly audible under load, and power draw ranged from about 13 watts idle to 90 watts at full load.

In daily use, the system felt quick and responsive. Browsing the web and streaming 4K video went smoothly with only minor dropped frames. A BrowserBench Speedometer score of 25.1 puts it near the high end for this class of device. Light 4K video editing in DaVinci Resolve was possible as long as I stuck to basic cuts and transitions.

Gaming performance landed where I expected. Cyberpunk 2077 ran at 1080p on low settings between 30 and 40 fps, while No Man’s Sky performed similarly. That makes the M6 Ultra fine for casual gaming or emulation of consoles up through the PS2 era. On 3DMark Time Spy, it scored 2,623 points—roughly in line with a GTX 1050 Ti—and passed the 3DMark stress test at 99.4 percent, indicating stable sustained performance.

The M6 Ultra ships with Windows 11 Pro but handled Ubuntu Linux without issue. All hardware was detected, and performance felt snappy, making it a strong option for anyone who wants a compact Linux workstation or home server.

Overall, the M6 Ultra fits nicely into the growing lineup of affordable mini PCs that balance price and power. It may not replace a gaming rig or a high-end workstation, but it’s capable, quiet, and flexible enough to take on just about anything you’d expect from a small desktop. I’m already thinking about where it might fit into my setup next.

The company sent the unit free of charge, but they didn’t review or approve anything before publication, and no other compensation was provided.

The Native Union Pop Phone Brings a 1970s Phone Receiver to Your Smartphone and Other Devices

The other day I saw my friend Larry Hyrb, AKA Xbox’s Major Nelson showing off his Native Union POP Phone and I knew I had to get one too. It’s a telephone handset that looks like the same one my family had hanging on the kitchen wall when I was a kid. While it might look like something out of a time capsule, it’s actually built for the modern era with a USB-C connector that lets it plug into today’s phones, tablets, and computers. You can find the phone on Amazon (compensated affiliate link).

Check it out on my Gadget Picks channel!

It definitely lacks that heavy, metal feel the old ones did — this one’s all plastic, lighter, and sealed up, so there’s no unscrewing the receiver to see what’s inside. The cable is coiled like the originals but permanently attached, and there’s a single button for hanging up calls. It’s not quite as satisfying as slamming a handset onto a cradle, but if you need the full experience, you can always tap the button and smack it on the desk for good measure — just gently.

To really put it to the test, I called up Larry on a video call which you can see in the video. On my end, the audio setup didn’t cooperate perfectly, but Larry’s side of the call gave a clear sense of what the phone sounds like — surprisingly better than expected, with decent noise isolation.

We both laughed about the muscle memory that came right back — the way you naturally cradle it between your ear and shoulder or reach for a coiled cord that could stretch halfway across the house. Larry mentioned using his Pop Phone in meetings just to throw people off. Older coworkers immediately recognize it, while younger ones have no idea what they’re looking at. It’s one of those small reminders of how quickly technology moves on from something that used to be a fixture in every home.

The Pop Phone is a novelty for sure. But it’s a gag gift that’s actually pretty functional and works with just about any device that has a USB-C port.

Is Smart TV HDMI Spying Legal?

After last week’s video about how smart TVs spy on users, I wanted to take a deeper look at the legalities around allowing TV manufacturers to spy on everything we watch – including what’s connected to our TVs via the HDMI port.

Check it out in my latest video!

As a recap, most televisions don’t just track what apps you use—they can identify what’s on the screen or what’s coming through the speakers, then send that data off to advertisers and data brokers. It’s all done through automatic content recognition, or ACR, and it’s completely legal because users consent to it, often without understanding they have.

When I factory-reset my Roku TV, the setup process gave me two options in regards to ACR: “Agree” or “Manage Preferences.” There was no simple “Yes” or “No.” Most people, eager to get started, are going to hit “Agree.”

If you do click through to “Manage Preferences,” you can then opt out, and Roku will still let you use its smart features. That’s more than I can say for my LG TV, which shut down all its smart functions when I declined a new privacy policy after a firmware update. I could still use connected devices, but the built-in apps were locked out until I accepted the new terms. Roku’s approach at least lets you continue using the interface, but I doubt many users go through the trouble to opt out. A real opt-in should offer a clear yes-or-no choice, not bury “no” under layers of menus.

Roku’s privacy policy itself is over a hundred pages long printed out, and scrolling through it takes several minutes. Buried in that text are all the details about how the company collects and sells data. The numbers make it clear why this is so central to their business—Roku’s recent quarterly report showed more than a billion dollars in gross profit from its platform, compared to only about $146 million from hardware. The TVs are just the delivery mechanism; you and your data are the product.

Apple has taken the opposite approach by asking users directly whether they want to be tracked across apps. The first choice shown is “Ask App Not to Track,” followed by “Allow.” When Apple rolled this out, 96 percent of U.S. users opted out, and even now most people still refuse tracking when given a clear choice. Reports from analytics firms put the current opt-in rate somewhere between 15 and 30 percent.

Looking ahead, I’m concerned about where this technology might go as AI becomes more powerful. Right now, companies say they’re only sending “fingerprints” of screen images, not the images themselves, but even small local models that can run on smartphones analyze photos in surprising detail. It’s easy to imagine a manufacturer deciding that full-image uploads could make targeting more precise and profitable.

Many viewers told me the simple answer is to keep TVs offline. I agree—that’s the easiest fix. Unplug the Ethernet cable, disable Wi-Fi, and use an external device like an Apple TV or a computer if you want streaming apps. But most consumers don’t do that. When I stopped by Best Buy recently, the salesperson said people mainly care whether their new TV supports the apps they use most. They’re connecting their sets because they want convenience, not because they’ve read a privacy policy.

If regulations ever catch up, maybe they’ll require true opt-in choices instead of manipulative prompts. Until then, the safest move is still to disconnect your television from the internet and think carefully about what you’re agreeing to.

For a good resource on taking back control, my friend Veronica over at Veronica Explained has a video on cutting these services out entirely and running everything with open-source tools. She’s got some solid ideas for handling your own streaming setup without giving away your data.

Tech Dispatch from Pepcom’s 2025 Holiday Preview Show

I took a train into New York City on Wednesday to check out Pepcom’s annual holiday preview show. It’s always a little strange to see Christmas decorations everywhere before Halloween, but this event serves as an early look at the gadgets companies are hoping will land on holiday wish lists. I walked the floor to see what stood out.

Check it out in my latest dispatch video!

Withings was there showing off the U-Scan, a health device designed to fit inside a toilet bowl. It analyzes urine to track things like nutrition and kidney health. The system uses cartridges that last about three months and can identify multiple users automatically. There’s also a cleaning and charging station to keep it maintained. It’s a bit unconventional, but it’s another example of how personal health tracking keeps expanding into new spaces.

Remarkable had a smaller version of its popular e-ink tablet called the PaperPro Move (compensated affiliate link). It keeps the same minimalist design but shrinks things down to a more portable size that fits in the hand. It’s designed for people who prefer a distraction-free writing experience without the bulk of a larger tablet.

A company called Neurable caught my attention with a pair of headphones that double as a brainwave reader. The silver pads on the band are electrodes that can analyze brain activity to estimate your “brain age” and track changes over time. They’re also regular headphones, but the focus here is on cognitive health rather than just audio quality.

Xperi—better known for TiVo—demonstrated its television operating system that’s beginning to appear on Sharp Aquos TVs (compensated affiliate link) in the U.S. The interface organizes content recommendations across streaming apps, including Plex, and aims to make finding something to watch a little easier.

Kensington had a few new items, including the Expert Mouse TB 800 EQ trackball. It has adjustable polling rates, multiple buttons, and a sturdy metal design with a satisfying scroll dial. They also showed off a Thunderbolt 5 dock loaded with ports, an M.2 slot for storage, and a compact flash card reader. It’s hefty, but that makes it stay put on the desk. These aren’t shipping just yet but will be available soon at Amazon (compensated affiliate link).

Ambient was demonstrating a bedside clock called the Dreamie that encourages better sleep habits without relying on a phone. It uses light and sound cues to signal bedtime and can play white noise, podcasts, or ambient sounds through the night. A motion sensor tracks how often you get up and records environmental conditions like humidity and temperature. It’s designed to promote healthy sleep without constant screen time.

HP had a lightweight 14-inch portable display that covers the full sRGB color range. It’s bright for a bus-powered monitor and includes a magnetic cover that doubles as a stand. They also had a new version of their HyperX SoloCast 2 microphone (compensated affiliate link), a simple USB mic that’s inexpensive and aimed at beginners who want better sound for podcasting or streaming.

Another HP product on display was a League of Legends–themed Omen laptop, complete with game-inspired design details and high-end specs. It’s targeted at fans of the game who want hardware that matches their interests.

Yubico didn’t have anything brand new, but they noted that their security keys are now available in Best Buy stores (compensated affiliate link), which makes it easier for people to pick one up locally.

Nvidia was at the show too, but there was no sign of a new Shield device—just their GPUs this time.

SanDisk, however, had a few storage products on display, including an ultra-small USB-C drive that fits flush with a laptop port and can transfer data at around 400 megabytes per second. They also had Crayola-branded USB drives (compensated affiliate link) shaped like crayons, with a few colors exclusive to specific retailers like Walmart.

I also came across Napster at the show, though this version of the brand has nothing to do with music. The company is introducing a new AI service built around access to specialized AI experts. You can ask questions and get responses based on the expertise of these AI personalities, and they’re designed to perform certain tasks as well. Napster is also showing a hardware accessory that clips onto the top of a laptop and projects a 3D version of your AI assistant, adding a visual layer to the interaction. But it’s Napster in name only.

That wrapped up my walk through Pepcom’s holiday tech showcase. I’ll be back at CES in January to see what comes next. This event always feels like the calm before the storm—an early glimpse at what we’ll soon see everywhere once the holidays hit full swing.

See all of my prior dispatches (over a decade’s worth!) by clicking here!