video Archives - Lon Seidman & Lon.TV Blog

2025 Toyota Sienna Recall : A Tale of Betrayal by a Once Trusted Brand..

I bought a new Toyota Sienna with my wife in January of 2025, a Woodland Edition that replaced our 2019 Sienna. It was our third Toyota, following a Highlander and a previous 2019 Sienna. Until recently I had no reason to question the brand. The vehicle itself has been solid, and nothing about the driving experience suggested there was a serious issue lurking beneath the surface.

That changed when a recall notice arrived in the mail in mid-December. The letter explained that Siennas manufactured between January and July of 2025 may have defective middle-row seat rails. In certain high-speed collisions, those seats could lose structural integrity if occupied, increasing the risk of injury. Toyota’s guidance was blunt: no one should sit in the second-row seats while the vehicle is moving until a fix is implemented. At the time of the notice, no remedy had been defined.

Explore more in my most recent commentary video.

What troubled me was not just the defect, but the timeline. According to Toyota’s own filings, the company became aware by September that the seats could dislodge in a crash. A voluntary safety campaign decision was made on October 1, and the National Highway Traffic Safety Administration was notified shortly thereafter. Dealers were also informed at that time and instructed not to sell affected vehicles. Yet as a customer, I did not learn about the issue until roughly two months later, despite continuing to drive my family in a vehicle Toyota already knew had a potentially serious safety problem.

Toyota did issue a press release when the recall was filed, but it was easy to miss if you are not actively following automotive news. When I asked Toyota’s PR department why customers were not contacted sooner, I was told that assembling mailing lists takes time and that federal regulations allow up to 60 days for notification by first-class mail. I was also told there is no comprehensive digital database of owner contact information. That explanation rang hollow, especially after customer service was able to pull up my details immediately using the VIN when I called them.

There is also the role of the dealership. I purchased this vehicle locally, from a dealer that has sold me multiple cars over the years. They had the same information Toyota had in early October, yet there was no proactive outreach to customers who had recently driven off the lot in affected vehicles. A phone call warning families about a seating restriction would not have required a regulatory mandate, only a basic sense of responsibility and duty of care for customers.

Seeking a workaround introduced a second layer of frustration. The service bulletin indicated that impacted customers were eligible for a loaner or a rental vehicle with a daily allowance. When I contacted the dealer, I was told there were no loaners available and that any replacement vehicle would be “whatever was on hand.” The option of a rental was initially dismissed, despite being clearly outlined in Toyota’s own documentation. It took several calls between the dealership and corporate support before a rental was finally arranged.

For now, we will be driving a rented minivan on Toyota’s dime while waiting for the company to determine how it will address the defect. The inconvenience is manageable, but the experience has shaken my confidence.

This was not a minor oversight or a cosmetic issue. It involved seating where children ride, and it carried acknowledged safety risks. Knowing that both the manufacturer and dealers were aware of the problem months before customers were directly notified is difficult to reconcile with the trust that brand loyalty is built on.

I still like the vehicle, and I still want this to be resolved properly. But this episode raises broader questions about how companies communicate with customers when safety is at stake, and whether meeting the minimum regulatory requirement is an adequate substitute for timely, direct warnings.

Kensington TB800 EQ Trackball Review

I don’t usually get early access to new phones or laptops, but every so often something more niche shows up instead. In this case, it’s a pre-release trackball from Kensington, the new TB800 EQ.

I first saw it at a local trade show a few weeks ago, and Kensington later sent one over for me to try out. The TB800 is available for preorder through Kensington directly and on Amazon (compensated affiliate link). If you buy it through Amazon, you can choose between different ball colors; the unit I’ve been using has a burgundy ball, though a silver option is also available.

One of the first things I noticed is how securely the ball is held in place. It snaps into the housing with enough resistance that it won’t fall out even if you flip the device upside down. That may sound minor, but anyone who has used older trackballs knows how easy it is for the ball to pop loose when moving the unit from one office to another.

Like other Kensington trackballs, there’s a large central scroll wheel, and this one has a solid feel with a bit of weight to it. By default, it spins freely and supports accelerated scrolling. Pressing a mechanical button on the top switches it into a click-by-click mode with an actual mechanical detent so you can physically feel each step as you scroll line by line. In addition to that main wheel, there are two more scroll wheels built into the device on the left and right hand side. One handles horizontal scrolling, while another can be used for zooming, depending on the application. In a spreadsheet, for example, I was able to scroll vertically, move left and right across columns, and zoom in and out without touching the keyboard.

Those extra wheels are positioned far enough away from the main buttons that they don’t get triggered accidentally. After using the trackball over several days, I didn’t find myself activating them unintentionally during normal use. They also have a balanced resistance, so they don’t feel loose, but they aren’t stiff either. If you decide you don’t want to use one or more of the scroll wheels at all, Kensington included physical switches on the bottom of the device that let you disable them individually. That avoids the need to dig into software profiles just to turn a wheel off for a particular task.

There are additional programmable buttons along the top, which by default handle actions like browser back and forward as well as volume control. These, along with the rest of the buttons and scollers, can be reassigned through Kensington’s software.

Connectivity is another area where the TB800 offers flexibility. It can connect via USB-C, through a USB-C wireless dongle, or over Bluetooth, with support for pairing to two Bluetooth devices. A button on the side lets you toggle between connection modes, making it possible to move quickly between multiple computers or tablets. Kensington estimates around four months of battery life per charge, depending on usage.

On the performance side, there’s an on-the-fly DPI switch to adjust pointer sensitivity, along with a polling rate button labeled in hertz. When connected via USB or the wireless dongle, the polling rate can be set as high as 1,000 Hz, which puts it in the same range as many gaming mice. Bluetooth connections don’t support the higher polling rates, but for wired or dongle use, the higher setting results in smoother cursor movement, especially on high-refresh-rate displays.

The configuration software, Kensington Connect, presents a visual layout of the device and allows extensive customization. Any button can be mapped to a wide range of actions, including macros, text snippets, system controls, or application-specific functions. There’s an easy mode for basic assignments and an advanced mode that allows combinations of buttons to trigger additional actions. Pointer behavior, DPI steps, polling rates, and scroll wheel functions can all be adjusted, and profiles can be set on a per-application basis so the controls behave differently in, say, a video editor versus a spreadsheet.

Trackballs have always attracted users who want a high degree of control, and that’s clearly the audience Kensington is aiming for here. I’ve been using Kensington trackballs for decades, going back to one I bought around 1989 or 1990 for an Apple IIgs that still works today. The TB800 feels like a continuation of that lineage, with large, accessible buttons that accommodate different hand sizes and grip styles. All in a very nice solid offering for Trackball fans.

Disclosure: Kensington sent the trackball to me free of charge. No other compensation was received and they have not reviewed or approved this content prior to upload.

Using Gemini AI’s “Nano Banana Pro” To Enhance Old Digital Photos

On my Gadget Picks channel, I reviewed the Kodak Charmera, a cheap keychain sized, 1.6-megapixel camera whose main appeal seems to be less about image quality and more about novelty. The camera is sold as a Labubu-style blind-box product, with different designs packaged randomly, and that scarcity has led some scalpers to charge far more than its original price. Amazon does have them in stock at the time of this writing (compensated affiliate link).

The image quality straight out of the camera is pretty bad—similar to what one might experience from an early consumer digital camera. But could Google’s new Nano Banana Pro AI model fix these images up and make them look modern? That’s what I explore in my latest video.

The Charmera produces images that are noisy, soft, and lacking in detail. On their own, they are barely usable. Using a prompt that Gemini itself helped generate, I fed in a selfie taken at my desk. The original file was a blur of digital noise, but the output that came back was far more detailed, with accurate colors and recognizable objects in the background. While there was some smoothing that made the image look slightly retouched, it largely preserved what was actually there.

That initial result led me to try a variety of other images. I photographed a small holiday decoration, a candle, my dog, and an outdoor scene, all using the Charmera. In each case, Gemini produced images that looked closer to what I might expect from a modern smartphone. Details that simply were not visible in the original files appeared in the processed versions, from textures on a figurine to fur and reflections. The framing and perspective stayed consistent, even when depth-of-field effects were introduced.

The experiment didn’t stop with new photos. I also revisited digital images from the late 1990s, taken with a Kodak DC120 camera. Many of those files I saved at very low resolutions, such as 320×240, which were the sharpest looking on my 1024×768 display at the time but look especially rough on today’s high-resolution displays. Running those decades-old images through Gemini produced mixed but often striking results. In some cases, textures and facial details appeared that made the photos feel contemporary, even though the originals had almost no usable information at the pixel level.

I also found Nano Banana to be a great compliment to another Kodak-licensed product, the Slide N Scan photo negative scanner. The scanner is inexpensive (comparatively) and can rapidly scan photo negatives and slides. But the output quality is nowhere near where it needs to be for professional use. But Gemini was able to dramatically transform a few of the images I fed through it from that scanner.

Not every result was faithful to the original. In some images, Gemini appeared to invent details when there wasn’t enough data to work with. A dog’s fur texture changed noticeably, and in one image of me running with my dog, my face was clearly not my own.

Scanned photos from books and yearbooks were generally handled well, including colorization, but there were occasional distortions in faces or text. Logos and lettering were sometimes incorrect or duplicated, especially when the source material was ambiguous or mirrored.

I also found that context mattered. When I scanned a 1994-era Polaroid of my Powerbook 180c and a Newton I had to give Gemini more specific hints about what was in the image. Gemini convincingly recreated the devices and dropped them in place. At first glance it looked amazing. But some elements—particularly text—were reconstructed inaccurately. In the below example you’ll see that Gemini replaced the “Macintosh” text on the computer with “Powerbook.”

Working through these examples made it clear that tools like Gemini are doing something very close to what modern smartphone cameras already do. Computational photography has shifted the process away from simply capturing light and toward interpreting data. In that sense, using Gemini on an extremely poor image from a toy camera is not all that different vs. what happens inside many smartphones today.

Used carefully, it can make old or low-quality images usable again. But it can very quickly cross the line from enhancement into fabrication. That balance is something worth keeping in mind as these tools become more accessible and more powerful.

Check Your Cable Bill for Increased Broadcast TV Fees!

If you’re still paying for cable TV, you might be seeing a sizable increase this month on your local TV fee paid to broadcasters. In my part of Connecticut that increase is substantial. According to the latest Comcast rate card, that fee is going up over $10 to $48.30 a month! It sits outside any contract pricing, so even subscribers locked into a package are getting hit with this increase.

In my latest video, we take a look at what this fee is all about and how broken the system is.

Comcast publishes very detailed rate cards that break down every charge and bundle for each of the markets they serve. But I can’t access cards from other regions without logging in as a customer. Because of that, I put together a form where viewers can share what they’re seeing locally.

I went back to an older video I made in 2018 where I had pulled this same section from the rate card. At the time, the fee was only $8. In under eight years, that’s a 500 percent increase!

Much of this money is going to large broadcast groups like Nexstar, Sinclair, Gray, and Scripps. Nexstar, for example, is currently asking regulators for permission to grow even larger by taking over Tegna. As more people cancel cable, the subscriber base that funds retransmission consent fees keeps shrinking, and the broadcasters have been raising rates to maintain the revenue they’ve grown accustomed to. Many of these companies now rely on retransmission for half or more of their income, regardless of how many people actually watch their stations.

The natural question is how broadcasters are allowed to keep raising these fees. The answer lies in the retransmission consent framework. Cable companies once had to carry every local station for free under “must-carry,” but court decisions in the 1980s and a 1992 law shifted the landscape. Broadcasters can now choose between must-carry or negotiating a paid consent agreement. Nearly all of them opt for the paid agreement. Cable providers, meanwhile, are required to negotiate in good faith and can’t walk away. Broadcasters, on the other hand, can pull their signals if they’re unhappy, and the cable company can’t replace a local station with the same network from another market. If the ABC affiliate in my area is owned by Nexstar, that’s the one Comcast has to carry—no alternatives.

Cable companies also must place local stations on their most basic tier. Years ago that tier was called “lifeline cable,” but with a $48.30 broadcast fee added on, even a “lifeline” subscription has become expensive.

The FCC is revisiting national broadcast ownership rules, which has drawn in comments from groups across the political spectrum. One proposal from the International Center for Law and Economics argues for eliminating the retransmission consent system entirely and treating broadcasters more like any other content supplier under copyright and contract law. That could allow cable companies to negotiate outside their markets and potentially reduce costs by choosing among multiple affiliates of the same network. It wouldn’t preserve local newscasts, but it could give cable companies some leverage they don’t currently have.

Streaming services like YouTube TV and Hulu are not subject to the same rules that bind cable companies. Broadcasters want that changed, which would likely raise streaming prices as well. Some smaller networks such as Newsmax have raised concerns about consolidation for a different reason: if large broadcast groups force cable operators to carry their affiliated news channels on the basic tier, smaller channels could be pushed off the lineup entirely.

There’s a lot happening at once—shrinking cable audiences, aggressive fee increases, regulatory reviews, and pressure on both distributors and programmers to keep revenue flowing. I’ll continue following these developments. In the meantime, if you have a recent cable rate card, sending it in will help build a clearer picture of what subscribers are facing across the country.

The Multiview App for Apple TV and Android / Google TV Review

I came across an neat cord cutting app last night called Multiview. As its name implies, it can run four simultaneous OTA broadcasts on a single screen using an HDHomerun network tuner. The Apple TV version can also ingest streams from Tablo and Plex – including FAST streaming services.

You can check it out in my latest review.

Multiview is available on both Android and Apple platforms, including Apple TV, Google TV, Android TV, phones, and tablets. It feels a bit like the YouTube TV multiview experience but without the subscription attached.

The app costs ten dollars as a one-time purchase, and there’s a free trial that provides enough time to see whether it fits your needs. I paid for the pro version of the app myself, and the impressions here are entirely my own.

The software is still early in its life, and that shows through some bugs and quirks. The developer is active on Reddit and open to feedback, which makes the rough edges feel more manageable. Even in its early state, the app demonstrates how much innovation can come from small developers in the cord cutting space, especially when they build around open hardware like the HDHomeRun tuners the app relies on. I’ve used HDHomeRun devices for years, and their openness has always encouraged creative third-party projects like this.

Building out a layout inside the app is simple. I was able to pull in four OTA channels, switch audio between them just by moving the cursor, select one stream to go full screen with a button push and switch the layout to two-up or three-up configurations when needed. The app lets you save these layouts so you’re not rebuilding them every time you want to watch. Switching between these presets feels quick on the latest Apple TV hardware.

There’s also a program guide that resembles a traditional grid interface. It loads in all of the OTA channels your tuner sees. Occasionally it hangs, but backing out and reopening usually resolves it. Some of that may be tied to how many channels my Plex server exposes, since the app can merge OTA channels with Plex sources when Plex is connected.

The Plex integration currently works only on Apple TV. It brings in Plex’s FAST channels alongside OTA channels, which makes for some interesting multiview combinations. I did find that a local Plex server is required at the moment and that Plex accounts with two-factor authentication enabled don’t connect properly yet. After switching to an account without two-factor enabled, everything worked. Once connected, I was able to place OTA channels right next to Plex FAST channels within the same grid.

ATSC 3.0 support is present but mixed. The app will tune video from an ATSC 3.0 HDHomeRun, but I couldn’t get audio working in my market. The developer says it works where he is, so it may depend on local conditions. Encrypted ATSC 3.0 broadcasts don’t work at all, as expected, since they remain restricted by broadcasters.

I also tested the app on my iPhone, where it works similarly to the TV version, and on an Android TV device. The Android build currently supports only HDHomeRun sources and feels a bit slower on lower-end hardware. My Nvidia Shield had trouble running it, locking up during tests, while Walmart’s Onn 4K box handled it more reliably, even if it didn’t feel quite as fluid as the Apple TV.

The free demo gives you three fifteen-minute sessions along with the ability to watch a single channel without limits. For anyone trying to follow several games or events at once, the app offers an interesting option to experiment with.

You can find it on the Apple App Store here and the Google Play Store here.

Why Are People Scalping the Kodak Charmera Keychain Camera?

Blind-boxes are all the rage, something usually reserved for collectible toys like Labubus rather than electronics. But now Kodak, or rather a Kodak licensee, has jumped into the fray with a blind-box keychain camera that actually works!

Check it out in my latest Gadget Picks Channel review.

I ordered one months ago at B&H out of curiosity (compensated affiliate link), and it finally arrived this week. The first surprise was how small it was. It feels closer to a toy than a traditional camera, with a color and design you won’t know until you open the box. I happened to get the one I was hoping for, which matched the artwork right on the packaging. There are seven designs in all, with a “rare” variant being a transparent version.

The specs set expectations pretty quickly. The sensor sits at around 1.6 megapixels, and the camera comes without an SD card, though it does accept cards up to 128GB. It stores only two photos internally, so an SD card is essential if you plan to use it for more than a quick test. The back screen is tiny and offers only a few basic modes: photos, videos, and some built-in filters and frames that vary depending on which design you unboxed. Navigating the menus is simple enough, and taking a photo triggers a little mechanical-style snap sound.

The results look like something out of the late 1990s. The images immediately reminded me of my first Kodak digital camera from 1997, which also hovered around a megapixel. The look is soft, noisy, and decidedly retro, which might actually be part of the appeal for some buyers. The frames and overlays add a novelty factor, especially the one tied to the specific model I received.

Video is where things really fall apart. It records at 1440×1080 in a 4:3 aspect ratio, but the footage is jumpy and lacks any stabilization. The audio is thin and the overall experience feels more like a proof of concept than a practical feature. Still, it technically works, and some people may find charm in the limitations.

The Charmera sells for about thirty dollars at retail, although that price doesn’t mean much at the moment. Supply is tight and scalpers have pushed resale prices well beyond what the camera delivers.

I’m putting this one over on my Gadget Picks Channel, where odd little items like this tend to show up. If this is the kind of thing you like stumbling across, you’ll probably enjoy whatever shows up next—there’s always another curiosity around the corner.

Plex on the Steam Deck (sponsored post)

I’ve done a lot with Plex over the years, but never have I run it on my Steam Deck. Since the device is effectively a handheld Linux PC, it’s possible to run the full Linux Plex desktop application on it and access media the same way you would on a computer.

In my latest monthly sponsored Plex video, I step through installing and running both the Plex and Plex HTPC clients and demonstrated them running on the Steam Deck.

The process starts in the Steam Deck’s desktop mode rather than its usual gaming interface. From there, I went into the Discover app store, searched for Plex, and chose the desktop version instead of the HTPC edition initially.

The desktop app supports media downloads for offline viewing, which the HTPC version doesn’t, so it made more sense for someone planning to take content on the go. After installing it, I found the app under the multimedia section, signed into my Plex account, and confirmed everything worked.

To integrate Plex into the handheld’s regular Steam interface, I opened the Steam client in desktop mode and added Plex as a non-Steam game using the little plus icon at the bottom of the library interface. Once added, I rebooted back into gaming mode, and Plex appeared in the library under the non-Steam tab. I wasn’t able to make the icon show up properly, though I’m sure there’s a method tucked away in the settings somewhere. Even without the icon, the app launches like any other game.

Running the desktop version inside gaming mode takes a little control adjustment. The trackpads can work as a mouse, and Steam’s controller templates can remap the controls however you want. I set mine to a simple mouse-only profile, though the touchscreen works too. Navigating Plex this way feels natural enough, and the download option appears just as it does on other desktop platforms for Plex Pass users. My Steam Deck is one of the originals that doesn’t have an HDR display, and with only a 720p resolution, it makes sense to choose smaller download sizes when storage is at a premium.

Playback was smooth in my testing. A 4K Blu-ray rip of Jurassic Park—a Dolby Vision disc—played back without issue over my LAN, tone-mapped appropriately, and looked fine on the Deck’s display. Local network streaming especially felt quick and responsive. As a client device, the hardware seems more than up to the task. I wouldn’t run a Plex server on it, though; the AMD processor in the Deck doesn’t support hardware transcoding, and the whole idea of carrying a server around isn’t practical anyway. But if you wanted to do it there’s no restriction on it.

For those who prefer a TV-style layout, the Plex HTPC app installs from the same app store and works as expected. It responds quickly, though like the desktop app it requires a bit of controller mapping for navigation. The tradeoff is that it doesn’t support offline downloads. Depending on how you like to use Plex, either app may be the better fit.

What surprised me most is how naturally the Steam Deck functions as a portable media player once everything is set up. Since many people already travel with the device to play games, adding Plex creates another use case without much effort. And with all the power packed into the hardware, it behaves very much like a small PC that happens to have a built-in screen.

If you’d like more Plex topics explored in future posts or videos, feel free to suggest them. I’m always collecting ideas as I work through this series.

Disclosure: This video was sponsored by Plex, however they did not review or approve it prior to uploading.

Geekom A8 Mini PC Review

It’s a new week and that means another new Mini PC review! This time we’re taking a look at the Geekom A8, a nicely compact unit built around a Ryzen 8745HS processor. Mine arrived with 32 GB of DDR5 RAM and a 1TB Lexar NVMe SSD already installed. You can find it over at Amazon (compensated affiliate link).

Check out my full review here!

The processor inside delivers eight cores and sixteen threads, enough to handle the usual mix of browsing, office work, and general multitasking without strain. It also supports up to four 4K60 displays at once, or a single 8K display.

Opening the case took a little more effort versus the A8’s competitors. When I removed the protective metal plate, one of the Wi-Fi antennas pulled loose from the radio. The Wi-Fi/Bluetooth card sits beneath the NVMe SSD, so reattaching it means removing the drive first. It would likely happen every time the system is opened, so while the RAM and storage are upgradeable, I wouldn’t plan on doing it often. The A8 only has a single NVME storage slot which is occupied by its included storage.

The build is otherwise very solid. The top and sides are metal, the bottom plate snaps back together cleanly, and the footprint is small. Port selection is decent with dual 10-gigabit USB-A ports in the front, a headphone jack, dual HDMI on the back, and two USB-C ports that can output video. One of those USB-C ports offers 40 Gbps USB4 with Thunderbolt compatibility, while the other tops out at 10 Gbps. There’s also 2.5-gigabit Ethernet, another 10-gigabit USB-A port, a USB 2.0 port for peripherals, and a full-size SD card slot.

Network performance was mixed. Wired Ethernet delivered full 2.5-gigabit speeds in both directions, but the Wi-Fi 6 connection wasn’t spectacular during testing, which is common on compact metal-cased systems.

Power draw stayed modest: around 8–10 watts at idle and up to about 90 watts under load. The included 120-watt adapter comfortably handles peak use, which may appeal to anyone looking at this as a low-power desktop or small server.

Performance in everyday tasks matched expectations. Websites loaded quickly, office workloads were comfortable, and the fan stayed effectively silent with light use. A 4k 60fps YouTube stream produced a couple of dropped frames over time, something that may be fixed through future graphics driver updates. A Browserbench Speedometer score of 23.3 put it in line with other systems using similar chips.

In video editing, 4K60 timelines with simple cuts and transitions played smoothly, but heavy effects and color grading slowed things down as expected. An eGPU could help, though pairing one with a system at this price pushes the whole setup into gaming-PC territory.

Games ran better than I expected. Cyberpunk 2077 at 1080p on low settings hovered between 45 and 50 frames per second in busier areas, occasionally touching 60 in simpler scenes. No Man’s Sky exhibited similar behavior, with ground performance in the mid to upper 40s and higher frame rates in space. For casual gaming, it works. Older console emulation was strong too: PS2 titles like Burnout Revenge ran at full speed in my testing.

On 3DMark Time Spy, the system scored 3,347—about the same as other mini PCs using this chip and close to some recent gaming handhelds. A 99% pass on the 3DMark stress test suggested the cooling system avoids throttling. Even under sustained load, the fan noise stayed relatively low compared to many machines in this category.

Linux support looked solid. The latest Ubuntu release detected the Wi-Fi, Ethernet, Bluetooth, video and audio hardware without issues, and 4K60 output worked as expected. Applications performed similarly to the Windows side, making it a candidate for a Linux desktop or light server.

After spending time with the unit, I liked its size and overall build quality, even if the antenna placement complicates upgrades. The performance is strong for the form factor, the thermals are handled well, and Geekom backs it with a three-year warranty and a 90-day money-back guarantee.

Disclaimer: Geekom sent this Mini PC to the channel free of charge for review. However no other compensation was received and they did not review or approve my review before it was published.

Nintendo Switch 2 Game-Key Cards Explained

I picked up a physical copy of Star Wars Outlaws for the Switch 2 (compensated affiliate link) on a black Friday sale the otherday. But unlike games on the first generation Switch console that ship the actual game data on the cartridge, the Switch 2 games often ship on “Game-Key” cards that are essentially a physical key to unlock and download a digital version of the game.

You can learn more in my latest Gadget Picks channel video.

When I inserted the card, the system immediately began pulling down about 25 gigabytes of data. It’s the kind of download that takes a while, so I let the console do its thing. The card itself is still required after installation, so the game will not load or stay loaded without the cartridge inserted.

This game goes a step further, requiring an Ubisoft online login before being able to play. After logging in, I tested what would happen without connectivity. Switching the console to airplane mode triggered warning messages, but the game did eventually offer an offline mode. It’s unclear how long it will allow offline play before asking to phone home again. At minimum, it does boot and run without a network connection once authenticated.

The game itself performs better than I expected on the new Switch hardware. For a large open-world title, it feels surprisingly at home on the system.

Ubisoft has said their decision not to ship the full game on a cartridge has more to do with cartridge speed than manufacturing cost, claiming the consoles internal or SD-based storage offers faster data streaming.

Even so, they could have included the data on a cart and copied it over during installation. That would have given players a long-term fallback if the download servers disappear in the future. Recently I looked back at some digital purchases I made, with many of my purchased iPhone app store games no longer available to download.

Sometimes a simple retail purchase turns into a small investigation, and in this case it revealed another step in the slow drift from physical games to digital tokens. Not quite the future the old cartridges prepared us for, but here we are—tapping plastic to download data and hoping the servers stay alive long enough for one more play session.

One advantage a physical Game-Key allows for is selling the game when you’re done playing it. That is one thing digital store purchases do not allow for. Given how well Switch games tend to hold their value, it’s still possible to live in this new digital world while keeping some degree of transferability.

That is, of course if Nintendo keeps the download servers active well into the future.

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.