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I know, I know... I'm being greedy when it comes to Little House on the Prairie. Netflix only dropped the first season on July 9, with its second season being renewed months before we even saw it.

Frankly, it's all good news for anybody who loves the Ingalls family. Logic tells us that season 2 will be based on the next book in Laura Ingalls Wilder's original series, On the Banks of Plum Creek.

Having left their little house on the Kansas prairie (which is exactly what we saw at the end of season 1), the Ingalls family travels by wagon to Minnesota, settling on the banks of Plum Creek.

The book covers five years of Wilder's childhood, so we could see the Ingalls stay there for a while should the Netflix series continue to be renewed.

If I were a betting woman, I'd say that Little House on the Prairie season 2 could be exceeded by at least 3 more seasons, if the streamer invests in the IP in the same way as it does with Virgin River. At the time of writing, no further seasons have been commissioned.

Talking to star Alice Halsey, who plays Laura, this situation would be a "dream come true," — and there's good reason to be optimistic.

"I love playing Laura, and I would love to do it for a whole lot longer," Halsey tells me. "I would just adore the prospect of being able to be Laura for years to come, to be able to be that kind of person that Melissa Gilbert was to so many people. I think that's really empowering.

"I just hope that people will love season 2 as much as they seem to like season 1. Season 2 is going to be even better. If we have a season 3 or season 4, that would just be a dream come true."

As I've said, I think Halsey is right, and Little House on the Prairie will likely be renewed for both... but let's dig into why. For starters, there's a wealth of source material to work with courtesy of the real-life Ingalls.

Here's the full Little House series list:

• Little House in the Big Woods (1932)
• Farmer Boy (1933)
• Little House on the Prairie (1935)
• On the Banks of Plum Creek (1937)
• By the Shores of Silver Lake (1939)
• The Long Winter (1940)
• Little Town on the Prairie (1941)
• These Happy Golden Years (1943)
• The First Four Years (1971)

We skipped past the first two books by the time season 1 even began, with season 2 confirmed to adapt On the Banks of Plum Creek. That leaves another five novels that are ripe for adaptation, meaning a minimum of five further future seasons in the pipeline.

Why "minimum?" Well, this largely depends on how Netflix chooses to adapt future books. The Ingalls didn't live in the Kansas prairie for too long, but we know that they lived by Plum Creek for a good few years. This could either be crammed into one season, or spread out over a few.

Of course, Netflix doesn't have to use all of Wilder's remaining books, either. As it's already skipped past the first two (understandably to start at the most well-known point), the streamer can pick and choose what it wants to adapt.

In its best-case scenario, we could be looking at an original IP that rivals Virgin River, which is currently the longest-running original series in Netflix's roster. Little House on the Prairie must be similarly cost-effective for Netflix to film, with both shows passing off Canada as various US locations.

As it stands, it's all to play for... but don't be surprised if more announcements come out sooner rather than later.

• Group‑IB discovers HollowGraph malware targeting Israeli entities, exfiltrating files via Microsoft Graph API
• Operators hide instructions in future calendar entries, then attach encrypted stolen data to events
• At least 12 systems were compromised; overlaps with Lyceum noted but attribution remains low‑confidence

Cybercriminals have found a way to communicate with the malware installed on victim devices through compromised Microsoft Calendar apps, experts have warned.

Security researchers at Group-IB have detailed a newly discovered piece of malware called HollowGraph designed to exfiltrate sensitive files from compromised devices.

What makes the malware stand out is the way it communicates with its operators. The best way to spot hidden malware is to monitor the traffic flowing in and out of a device, which is why cybercriminals try their best to hide this traffic, or blend it with another, legitimate one. In that respect, HollowGraph is unique because it abuses Microsoft Graph API and a compromised Microsoft 365 mailbox calendar.

After landing on a device and compromising the Microsoft 365 account, HollowGraph uses that account’s permissions to access Microsoft Graph. Operators create calendar entries containing instructions and place them far into the future (in the year 2050) to avoid being spotted. After acting on the instructions and harvesting valuable information, the malware exfiltrates it through the same channel.

Instead of uploading files to a suspicious server, HollowGraph attaches encrypted stolen data to calendar events and sends it through Microsoft Graph. For defenders, all of this traffic seems legitimate and usually flies under their radars.

So far, all of the victims are Israeli entities, Group-IB said. The researchers identified at least 12 compromised systems, three of which were still actively communicating with the attackers’ infrastructure during the investigation.

The researchers did not attribute the attack to any known threat actor, but hinted at a potential. They identified technical similarities in command structures and plugin mechanisms between HollowGraph’s framework, Cavern, and a .NET backdoor used by Lyceum (an Iranian-nexus threat actor associated with OilRig). However, Group-IB explicitly emphasizes that these overlaps are not distinct enough, so they assess this link with low confidence.

• Assassin's Creed Black Flag Resynced game director Richard Knight is keeping future content plans under wraps for now
• He says post-launch support "doesn't feel like a crazy bet"
• He hopes fans will continue playing the game after Grand Theft Auto 6 launches

Assassin's Creed Black Flag Resynced game director Richard Knight can't confirm if the title will receive post-launch content yet, but he hopes players will continue playing after Grand Theft Auto 6 releases.

In the same interview with YouTuber JorRaptor where Knight confirmed that Resynced will get a New Game Plus update at some point, the director was asked to discuss the game's post-launch roadmap and the plans moving forward.

"I can't say anything officially, but you know, it doesn't feel like a crazy bet," Knight said.

"We definitely need to support the game. We need to fix bugs. Sorry for anyone running into bugs. They hurt. They're painful for us, too. And we do want to add some quality-of-life stuff. So it's a pretty reasonable guess."

Then, as if considering the stiff competition when the game launches on November 19, he joked, "Also, please play us when GTA 6 comes out.”

As the first Assassin's Creed remake, it's unclear what the future holds for the game compared to new titles like Shadows and Mirage. While some hope for a remake of the original game's Freedom Cry expansion, Knight has said that it's still early days and plans aren't set in stone.

The director teased that there are team members who have "[DLC ideas," but balancing and updating the core game is currently the focus.

"Beyond that, I just want to say our focus with Black Flag remake has always been Edward," he added. "He's the kind of heart soul of the original game, and so you know maybe there could be more to tell there too."

Assassin's Creed Black Flag Resynced is now available on PS5, Xbox Series X and Series S, and PC.

The HEDDphone D1 are a quite frankly astonishing pair of over-ear headphones, trucking in a new line of innovative thought from the Berlin brand that also brought AMT technology to the wearable market. They’re open-back and passive, with eyes locked both on the world of pro audio and at-home audiophile listening.

While most brands struggle to occupy both spaces in any meaningful way, it’s my view that the HEDDphone D1 are a rare and commendable success. They are full in heart and full in throat, with an expansive frequency range and a hugely expressive soundstage. Their Thin-Ply Carbon Diaphragm (TPCD) drivers make good on their claims of tonal balance and transient excellence, making these just as adept at clinical representation as they are at gratifying, fulsome home listening.

The specs are friendly to both camps too, starting with the works-with-anything 32-ohm impedance. Traditionally, I’m less fond of this in other devices, but here and with the D1’s rich sonic capacity across devices, it’s a boon. They’re comfortable to wear, innately and over long periods of time, and they never get fatiguing to listen through either.

I don’t like giving full marks to things. It makes me feel like I’ve failed; like I’ve missed something, somewhere, or that I’ve even dared to be a bit lazy. More’s my disappointment, then, that I can’t fault the HEDDphone D1 in any meaningful way.

Sure, the build quality might stoop a tad beneath the price in places, but then the pristine presence afforded by those unique dynamic drivers shoots well above. Likewise, a slight low-end boost might disincentivise some pro-audio folk from trusting them in their line of work, but that same lift allows these headphones to provide weight and context unlike any other set of open-backed headphones at this (or perhaps any) price. Every question an answer.

So, then, I resolve to put away my thoughts of laziness or journalistic inadequacy, instead settling with the thrilling and essential truth that must be my own final answer: these are the best headphones I’ve tried in my career thus far. And they get full marks. Among the best wired headphones on the market? Emphatically yes.

• $799.99 / £599 / AU$999
• Launched on 6th November, 2025

When a pioneering set of headphones hails from a German brand literally called HEDD, it’s one’s duty to take notice. HEDD stands for Heinz ElectroDynamic Designs, and is the another in a series of major audio-tech gifts from Heinz Klaus — founder of ADAM audio, and key contributor to the development and improvement of AMT (Air Motion Transformer) transducers.

HEDD is a continuation of Klaus’ inventorial pursuits, first with a new suite of professional monitor speakers, then with bringing AMT and some clever material design to new territory: the world of head-fi. All lovingly designed and manufactured in Berlin.

The subjects of today’s scrutiny are the HEDDphone D1, the fourth set of over-ears to come from HEDD, following HEDDphones ONE, TWO and TWO GT respectively. Where prior cans focused on combining AMT drivers with over-ear headphones, the D1 are an exploration of dynamic drivers through the lens of Thin-Ply Carbon Diaphragm (TPCD).

The HEDDphone D1, then, purport to be every bit as stereotypically precise as one might expect from a pioneering German audio brand — with emphasis on the ‘stereo’, and with pun very much smugly intended. If Heinz can do it, so can I.

At £599 / $799.99 / AU$999, the HEDDphone D1 certainly aren’t cheap; they tickle the upper reaches of what might be considered ‘mid-range’ in a broad market, increasingly filled with audiophile-grade cans that ask for four-figure sums (including HEDD’s own flagship HEDDphone).

But the D1 pitches itself, sonically, as a pair of ‘phones that’ll go toe-to-toe with most when it comes to detail, tone and depth — to the point that they’re marketed quite keenly towards professional audio-folk and audiophiles alike. And, not to spoil you too soon, I think they more-than stick the landing.

Type

Open-back

Drivers

Driver: 50mm dynamic, thin-ply carbon diaphragm (TPCD)

Impedance

32 ohms

Weight

350g

Connectivity

2 x 3.5mm TS

Frequency range

Frequency range: 5 Hz - 40 kHz

Extras

Moulded EVA case, dual-TS to 3.5mm TRS cable, screw-on 3.5mm-6.35mm TRS adapter, drawstring velour cable bag

• 50mm Thin-Ply Carbon Diaphragm (TPCD) dynamic drivers
• 5Hz-40kHz frequency range
• 32-ohm impedance

The HEDDphone D1 are a pair of open-back over-ear headphones, designed as a mid-weight contender for pristine professional audiophile listening. They’re a passive, wired affair, and about as operationally simple as headphones get.

The big sell here is HEDD’s Thin-Ply Carbon Diaphragm (TPCD): a diaphragm constructed with an advanced carbon fibre composite that maintains rigidity in spite of its thin, low-mass design. The result is a responsive dynamic driver that doesn’t need to trade its proverbial lightness-of-foot for distortion or tonal imbalance, and doesn’t need conventional diaphragm-level dampening to maintain clarity either.

The HEDDphone D1 is outfitted with two 50mm TPCD-constructed dynamic drivers, which extend up to 40kHz and down to 5Hz — a remarkable range, with a remarkably steady response curve where it counts.

These drivers field an impedance of 32 ohms, making the HEDDphone D1 a suitable candidate for practically any sound source. I usually prefer my monitor headphones to have a little more fight in them than this, but on this occasion, I certainly don’t mind the results.

• Features score: 5 / 5

• Incredible clarity across frequency spectrum
• Deep, full and spacious low-end
• Expansive soundstage

Being someone who encounters and experiences new audio tech as a matter of course, I’m rarely in a position to be surprised by something. I usually have some vague idea of what to expect, and my expectations are usually somewhat in line with what I ultimately hear. Here, though: wow.

Having had plentiful experience with professional monitor headphones before, I thought I knew what I was in for with the HEDDphone D1. I didn’t. These ground-up Berlin-designed drivers are a marvel — and, perhaps, a rare instance of experimental reality actually informing PR copy. The D1’s got everything: depth, width, height; microscopic detail and macroscopic grandeur; pro-grade clinical clarity and gratifying, grin-worthy weight. They are full-range and balanced enough to work well as monitor headphones, but not clinically transparent to the point of flatness. It’s a delicate balancing act that pays off.

There’s a lot to get into here, but let’s start with the bass. Though impressively even with respect to frequency response, there is a slightly pronounced push in the low end — the quality of which is, quite simply, astonishing. There is a bulging fullness, of the same heft that makes closed-back headphones so gratifying, but also a depth-of-field that only open-backs can achieve. It’s the platonic ideal for low-end presence; the best of both worlds.

First impressions of this were achieved through digital streaming, listening to hi-res audio streamed from Qobuz. Pile’s All Fiction is a maximalist flood of roomy orchestrations, reverb-drowned voices breaking like waves, and huge blooms of messy low-end energy. It should not be an easy-to-parse record, but the D1 handle the heft of Loops and Poisons handily.

That deeply-impressive low-end control isn’t all that’s happening here. It serves to support an incredibly detailed upper register, too; things sail above it with ease. Mitskis’ Cats, from early-2026 heartbreaker Nothing’s About To Happen To Me, is a supremely balanced slug of sad-folky Americana, carried on a wave of deep bassy richness and carrying a full, clear, near-sailing Mitski vocal. In fact, those vocals are a revelation of their own, every fathom and every miniscule wave rendered in the same amazing definition.

Definition, ultimately, is the word. The transients are, to my immense gratitude, tight and immediate without overextension or insistence. Mitski’s I’ll Change For You demonstrates this capably, through dead-on kick-drums, rich clatter-y rim shots and the most tactile shakers you’ve ever heard hidden in a ballad. The light plosives in Mitski’s voice are discernable, to great humanising effect.

To figure out some more of that definitional excellence, I turned to PJ Harvey’s Stories From The City, Stories From The Sea. Harvey’s vocals are an immediate, forthright affair, and pop into being with a refreshing urgency. Again, there’s some excellent separation between voice and instruments, even as things spiral away beneath as in Big Exit, Kamikaze and This Wicked Tongue. Across the album, dry drums, harsh leads and percussive acoustic guitars build a clear and crisp picture of the D1’s composure.

Over on vinyl, things are just as impressive. Queens Of The Stone Age’s …Like Clockwork demonstrates the D1’s soundstage admirably, as well as their gutsy, gratifying treatment of distorted guitars. I Sat By The Ocean is cleverly rendered in space; My God Is The Sun is addictively propulsive, from its growling plinth of glistening bass to its tight trio of ever-climbing riffy guitars. Homme’s voice is, as ever, a mile-long track of croon-y honey.

Between PJ Harvey, Mitski and QOTSA, the D1’s aptitude for rock instrumentation — much like my personal proclivities for the same — have been summarily proven. To change tack, and to make a small case for my actually-quite-eclectic-I-promise taste, I threw on my vinyl copy of jazz drummer Roy Haynes’ 1963 album Cymbalism.

It’s a rich and free-wheeling collection of quartet-arranged brilliance, opened up with fast-paced flute-led swinger Modette. Haynes’ ‘snap-crackle’ drums shine immediately, and Frank Strozier’s flute, that threatens to be unlistenably harsh, comes in bright, beautiful and searingly insistent. The double-bass is a subtle, hollow, plucky affair, held up well somewhere between kick and snare; the piano is unobtrusively clear, even sharp.

In Lonnie Liston Smith And The Cosmic Echoes’ sprawling 1973 spiritual-jazz missive Astral Traveling, I found the D1’s tonal strengths on full display. In Search Of Truth’s a slow, sure-footed hike, its footsteps a consistent bass riff over which a spaced-out, upward-spiralling piano, disparate, immaculately-preserved percussive elements and a steady harmonium drone reach towards a mountain’s peak — a full-throated, ensemble-derived answer to the call, and a truly expansive experience in these headphones.

It’s clear to me how the HEDDphone D1 can be marketed simultaneously as a powerful home-listening audiophile product and a pro-grade monitoring headphone. The soundstage is broad and deep across the frequency spectrum; instruments and elements have their space, to be appreciated or scrutinised accordingly. That broad low-end lift could be argued as a platform by which to better examine low-end information, but really, it’s a little gift for you and me.

• Sound quality score: 5 / 5

• Unusual — yet welcome — grip on head
• Incomparably comfortable for long
• Slightly underwhelming material choices in places

The HEDDphone D1 are some seriously comfortable headphones — and not in the conventional way, either. Most headphones aiming for comfort have a light touch; they’re trying to be light, airy, and leave little evidence of presence on your head. The HEDDphone D1 are gloriously opposed to this approach.

Instead of a feather-light balancing act, the D1 goes hard, gripping your head with a deep and encouraging firmness. Some super-soft ear cup cushions eat up a lot of that inward force, and a firm foam cushion beneath the headband provides supple support from above. It’s a tight hug in headphone form, and all the better for it. They melt into your head, and, thanks to their open-back breathability, never get old.

Materials-wise, the HEDDphone D1 doesn’t quite have the same quality of build as other headphones at this price point — with a firm and reverential gaze levelled at the likes of Meze Audio. Besides the metal grilles protecting the diaphragm, and the spine of the headband, everything visible is plastic, foam and variably-breathable fabrics.

This is to say that the money’s been spent elsewhere; within. And given the incredible quality displayed within, I’m actually not all that fussed by the less-rarefied material design here. Besides, things work where it counts. The headband adjustment feels firm and reassuring, and the foam used for the cushions couldn’t be better-suited.

There is some semi-significant sound leakage out into the world, as is to be expected from anything open-back; that said, the same can’t quite be said for the inverse — at least, when music’s playing. It’s hard to be distracted when wearing these things.

• Design score: 5 / 5

• An undeniably upper mid-range price point
• Sonic performance that outstrips pricier cans
• Unignorably high bang-for-buck

Value’s always the hardest thing for me to pin down in a piece of tech. Circumstances differ, but MSRPs above a certain point are almost always a big ask. And I think it’s fair to call $799.99 / £599 / AU$999 a big ask. But in comparing that to the value of other headphones on the market, something emerges. At least, to me. The HEDDphone D1 pretty much clears them all for sonic characteristics.

Reservations may rightly be held for the plasticky nature of the chassis in places, but I think the D1’s built well enough to see off any assertions of poor value for money, particularly when they sound as good as they do. As far as fidelity is concerned, this could well be the absolute best bang-per-buck on the market.

Let me couch that in something a little more tangible. I’ve reviewed audiophile-grade over-ear headphones worth upwards of $2,000 / £1,899 / AU$3,550; I’ve even loved them. But not as much as these. And that’s irrespective of price. If the HEDDphone D1 can outperform something three times their price (and something I’ve deemed more-or-less worthy of that price, too), then they are stunningly under-valued.

Yes, $799.99 / £599 / AU$999 is a big ask for a lot of things, headphones included. But if you care about sonic fidelity personally or professionally, and when you’re getting four-figure sound quality at a mid-budget price point, it’s hard to call this anything but a steal.

• Value score: 5 / 5

Attributes

Notes

Rating

Features

Passive, open-backed over-ear headphones furnished with some top-flight 50mm TPCD dynamic drivers. They boast a 5Hz-40kHz frequency range — and a 32-ohm impedance guarantees they play well with pretty much any source.

5 / 5

Sound quality

An absolute delight to listen through, from a well-constructed and surprisingly robust low end to crystal clear highs, bywhy of excellent tonal control and some uniquely tactile transients.

5 / 5

Design

They look great, but they feel even better when worn. HEDD D1 aren’t fatiguing in the slightest, whether sonically or physically. A small shame that some parts feel cheaper than others.

5 / 5

Value

In spite of a slightly disappointing chassis, the HEDDphone D1 is incredible value for money. Its transient and tonal clarity reach far above its price point, giving many other more expensive audiophile- grade cans a run for their money.

5 / 5

You want to buy your last set of mid-range headphones
In my view, the HEDDphone D1 achieve something marvellous for their price bracket. They sound easily three times their price, and, even with a slightly cheaper build quality, feel exceedingly comfortable while delivering that underpriced sound. They’re the be-all and end-all for mid-budget listening headphones, and could be the last you buy before something four- (or five-) figures entices you.

You’re an audio professional that wants some daily-drivers
The HEDDphone D1 are unique in how readily they straddle personal and professional use cases. These are begging to be used in the studio all day, and at home on your hi-fi all night.

You want some headphones to commute with
Though the HEDDphone D1 ship with a robust-enough carry case, they are not the most commute-friendly of devices; they’re open-back, which means your travel companions will hear what you’re hearing. Also, while surprisingly good at blocking out external noises, they’re not great at it. These headphones are for home! (Or work.)

You’re stretching your budget
The sound performance on display here is nothing short of magical, but the price point stretches beyond what most casual or mid-range budgets allow. If you’re looking for some pro monitoring headphones, you’ll find a suite of flat, clear and pristine (if slightly less thrilling) headphones in the £2-400 range; if you want some crystal-clear listening headphones for home, other brands like Meze are excelling in that same space.

HEDDphone D1

Meze Audio 105 Silva

Grado Signature

Open-back or closed-

Open-back

Open-back

Open-back

Driver

50mm dynamic, thin-ply carbon diaphragm (TPCD)

50mm dynamic; bio-cellulose, titanium-coated semicrystalline polymer

50mm dynamic

Frequency range

5 Hz - 40 kHz

5 Hz - 30 kHz

6 Hz - 46 kHz

Impedance

32 ohms

42 ohms

38 ohms

Connector

2 x 3.5mm TS

2 x 3.5mm TS

4pin Mini XLR

Weight

350g

354g

460g

Extras

Moulded EVA case, dual-TS to 3.5mm TRS cable, screw-on 3.5mm-6.35mm TRS adapter, drawstring velour cable bag

Carry case, soft pouch for cables, 3.5mm TRS to dual 3.5mm TS cable, 3.5mm TRS to USB-C adapter w/ integrated DAC, 3.5mm TRS to 6.35mm TRS adapter

Source connection 6.3mm; Signature Gold 12-conductor 6ft detachable cable; new B Cushion ear pads supplied

Meze Audio 105 Silva
The Meze Audio 105 Silva are another stunning pair of mid-weight headphones, though much more geared to comfortable home listening than anything else. They’re a little cheaper, and they fall short against the D1 on a few sonic fronts, but they’re hugely comfortable, and slightly more remarkable on the material-design front.
Read our Meze Audio 105 Silva review for more

Grado Signature
The Grado Signature S750 are open-backed on-ears, and significantly pricier than the HEDDphone D1. These are the choice for luxuriant, up-close at-home listening, but also an illustration of just how high the D1 are punching. 
See our in-depth Grado Signature S750 review for more

• Tested for 5 weeks
• Used as primary home listening headphones, for streaming and vinyl
• Predominantly tested using Qobuz on a Windows laptop, connected to a UAD Volt 4 audio interface
• Also tested on a Vestax turntable setup with an Audio-Technica VM-95EN cart

I spent a month with the HEDDphone D1 headphones, wherein they were used as my primary home listening headphones. They split their time between my attic office space and my living room hi-fi stack.

In the attic, the HEDDphone D1 were used to listen to hi-res audio on the streaming service Qobuz, as well as lossless audio in my digital music library, through the headphone output of my trusty Universal Audio Volt 4 audio interface.

In the living room, they were used to listen to vinyl records played on a Vestax PDX-D3 turntable, outfitted with an Audio-Technica VM-95EN cartridge, via the headphone output of my Vestax PCV-275 mixer.

• First reviewed: July 2026
• Read more about how we test

• The UK government has quietly revealed when plug-in solar will be legal
• The law change will come into effect from August 27
• The panels could save you up to £110 a year on your energy bills

The UK government has quietly revealed when plug-in solar panels will become legal to buy in the country — and the magic date is August 27.

The date (spotted by Engadget) is hidden away in these amended 'Plugs and Sockets' regulations for the UK. These are "coming into force" from August 27 and effectively legalise plug-in solar panels, which currently exist in a legal grey area.

Right now, it isn't legal to send electricity into a wall socket to power your appliances or other tech. But these amendments make a new exemption for so-called plug-in solar, provided the new kit meets some strict criteria.

Specifically, your solar setup can't output more than 800W of power and also can't "import electrical energy" from your house to be stored and used later. This date also isn't necessarily when we'll see plug-in solar panels — otherwise known as 'balcony solar' — go on sale, but refers to when they can be approved to go on shelves.

The government's research, which included a consultation that ended on June 30, suggests that plug-in panels could start at around £400, and save households up to £70-£110 a year on their energy bills. You also shouldn't need professional installation nor planning permission, unlike regular rooftop panels.

While the legal amendments have unfortunately come towards the end of the summer, it does mean the government will have hit its target of finalising plug-in solar legislation by the end of the season.

While retailers aren't committing to exact on-sale dates yet, some major ones have hinted to us that they'll be keen to stock plug-in solar kits as soon as possible.

John Boumphrey, UK & Ireland Country Manager at, Amazon said: "The Government's announcement on plug-in solar panels is a practical step that gives households a simple way to generate their own power, reduce bills, and contribute to the UK's net zero goals. We're looking forward to helping customers access this technology."

Lidl could be another store that supports the tech, given it's already launched its own cheap battery that's designed for solar systems in Germany. Georgina Hall, Corporate Affairs Director at Lidl GB, told us: “At Lidl GB, we are committed to making sustainable living affordable for everyone and we welcome the Government’s move to modernise regulations in the UK.

"Updating the regulatory landscape for this 'plug-and-play' technology is a positive step towards empowering British households to manage their energy costs and support the nation’s net-zero ambitions."

Last month, we also saw that Asda, Currys, B&Q, Wickes, and Screwfix had met with the Minister for Energy Consumers, Martin McCluskey, to discuss balcony solar panels. "Plug-in panels can be transformative for renters or those on lower incomes, so I welcome the conversation today with household names such as B&Q and Currys showing a huge amount of support for getting the panels in people's homes," McCluskey said.

So if you're interested in plug-in solar panels, you shouldn't be short of options from traditional high street names — let's just hope the sun is still shining by then.

• SK On says solid-state cells can give industrial robots the 8+ hour runtime of a human shift, but adoption might be another story
• While upcoming solid-state batteries boost productivity through longer operating times and lower overall operating costs, they are prohibitively more expensive than some of their lithium-ion peers
• Modern Li-on-based batteries are under 2% of a robot's manufacturing cost today, and solid-state would push that share to around 8%, a premium that could come with serious tradeoffs for manufacturers

Modern robotics is a field that continues to grow over time, fueled by a mix of smarter AI, manufacturing efficiencies and at times, better materials that change what is possible on the ground.

The robots currently in use in factories and warehouses however have a key limitation that has yet to be addressed properly: Lithium-ion batteries often can not keep up with the power demand that modern robots have.

This is particularly reflected in how often they require a battery swap or a recharge: most lithium-ion-powered robots typically operate for one to two hours on a charge, a far cry from the industry's ambitions of machines that can work a full eight-hour shift.

Speaking at the 2nd Battery Foundry Forum in Seoul on July 15 2026, Ko Young-seok, the executive vice president and head of product planning at the Korean battery maker SK On, argued that solid-state cells can deliver meaningful value for industrial robots that need extended runtime.

He also explained that whether manufacturers actually adopt them will come down to total cost of ownership (TCO), weighed against two cheaper rival approaches: battery swapping and ultra-fast charging.

The TCO framing implies that solid-state batteries, the battery industry's most hyped next-generation technology and inherently expensive to boot, might attract industrial buyers simply because the math works in their favor relative to conventional Li-ion setups.

This is because one must factor in the cost of keeping spare battery packs, charging and/or swap times, and potentially additional robots to cover the resulting downtime, which could leave solid-state with a lower TCO than the competition despite the higher sticker price.

The framing may also be unavoidable given how batteries sit in a robot's bill of materials today. A Li-ion battery accounts for under 2% of the total cost of an industrial robot, according to SK On, essentially a rounding error in the grand scheme of things, but switching to a solid-state battery could push that share to around 8%, a significant jump in overall costs.

For context, a widely circulated teardown of Tesla's Optimus Gen 2 puts the battery pack at about $300 in a roughly $55,000 hardware cost structure, around 0.5% of the bill of materials, comfortably under 2%, though units with larger packs or lower overall costs would land higher, and some independent estimates, including McKinsey's, put battery modules at 5–10% of a humanoid's bill of materials.

Solid-state cells, with their higher energy density, are one of the most promising routes to a robot that works a human shift without stopping, but given their comparatively steep cost versus the competition, one can understand why SK On is aiming this pitch at the robotics and industrial players that need the technology and can afford to pay for it.

For applications with short duty cycles, swapping a cheap lithium-ion pack or fast-charging between tasks may simply remain the better economic answer, but for customers willing and able to pay for more sustained power, solid-state seems to be the new play, even as it remains elusive for commercial EVs given its cost.

SK On has skin in this game on a specific timeline. The company completed its all-solid-state pilot plant at its Future Technology Institute in Daejeon last September, built in partnership with US solid-electrolyte firm Solid Power.

It is developing two chemistries: a polymer-oxide composite cell targeted for commercialization in 2028 and a sulfide-based cell in 2029, a timeline it has already accelerated by a year. But it has competition waiting in the wings: rival Samsung SDI, working with the same American partner, is aiming for 2027.

Whether this leads to widespread adoption of tech expected to appear only in the most expensive EVs on the market this decade remains to be seen, but the TCO argument Ko makes might stick more easily with industrial customers than with consumer EV buyers, for whom pricing and budgets are key factors.

Via The ELEC

• Pentagon eyes swarms of cheap drones over a handful of expensive fighter jets
• Carrier decks may soon be crowded with robots doing eight different combat jobs
• US Navy next fighter wing could fly itself from takeoff to target and back

The US Navy has issued a Request for Information (RFI) seeking a new family of carrier-based drones which would operate alongside manned aircraft while supporting missions across the full range of naval combat operations.

The service wants these systems to fly from Ford-class and Nimitz-class nuclear carriers, while some designs could operate from smaller vessels.

Its requirements seeking industry proposals for platforms capable of eight missions, including attacks against ships and land targets, anti-submarine warfare, air combat, electronic warfare, intelligence, surveillance and reconnaissance.

The aircraft would also support aerial refuelling and resupply missions for naval task forces, creating a broad set of requirements for a single aircraft or connected family of systems.

Strike variants must have a minimum range of 1,000 nautical miles, equivalent to roughly 1,150 miles.

The service also wants advanced autonomy for carrier operations, mission changes and threat avoidance during flight.

Proposed systems must support automated aerial refuelling and remain compatible with existing unmanned aircraft control systems.

The Navy is seeking “affordable mass, risk-tolerant platforms” capable of addressing current and emerging threats, which points toward affordable aircraft designed to be produced in larger numbers than traditional high-cost combat jets.

The RFI asks companies to explain how their production methods could expand rapidly during a surge while keeping recurring flight and sustainment costs within sustainable limits.

Manufacturers must also describe ways to reduce maintenance demands and use existing naval supply networks.

The Navy is also open to aircraft that can operate from platforms beyond its largest carriers - vertical-takeoff and landing UAVs could fly from destroyers, expeditionary sea bases and other vessels with suitable aviation facilities.

“The Navy is interested in novel concepts that can operate from any air-capable platform,” the RFI states, including destroyers and mobile sea bases.

This could give naval commanders more options for deploying autonomous aircraft across different maritime environments.

The Air Wing of the Future Family of Systems forms part of the Trump administration’s Golden Fleet expansion plan.

Existing related programmes include the MQ-25A Stingray tanker and Collaborative Combat Aircraft initiative.

The RFI also asks companies to explain planned capital investments and internal research commitments needed to mature their designs.

The Navy’s requirements suggest that future carrier aviation could combine advanced manned aircraft with larger fleets of autonomous systems designed for scale and operational risk tolerance.

Via Defense News

• Reports indicateHuawei is building and operating DRAM fabs through a joint venture with state-controlled SwaySure
• This is part of an alleged 11-fab network Huawei operates behind state-owned fronts that it denies exists
• The move, seen as a bid by Huawei to secure captive HBM supply for its increasingly powerful Ascend AI chips, could place the company above Apple, Intel, and Nvidia, none of which makes its own memory.

Mounting evidence suggests Huawei is taking the same approach that saw it build CPUs and AI chips in the past to DRAM in the present.

The Chinese tech conglomerate is allegedly building and operating DRAM fabrication plants on the mainland, bringing it into direct competition with only one major player at the same scale, albeit for a much larger consumer base: Samsung.

Drawing on media reports and postings by semiconductor analysts, Block & Files has published claims (which Huawei currently denies) that the company is potentially building and operating DRAM fabs through a joint venture with Shenzhen-based memory maker SwaySure, giving it effective control over at least 11 different semiconductor fabs in the region.

Despite its ramifications and Huawei's denials, the claim is hardly new: the first link between the two companies was in 2025, when the Financial Times published satellite images of Huawei's advanced chip production line that tied it to SwaySure and cited state financial backing for the facilities shown.

Huawei's purported move did not happen in a void, however; it finds itself in a situation where the Chinese state is increasingly and aggressively defending it not only covertly but overtly, on multiple fronts, as it responds to Washington-backed sanctions that limit and in some cases all but eliminate its ability to access cutting-edge silicon.

The overt part is easy to identify: the Semiconductor Industry Association estimated that Huawei is receiving $30 billion in state funding from the central government and its hometown of Shenzhen to build its chip network, while a separate 2019 estimate put the lifetime figure at US$75 billion in state support.

The government has also effectively barred its tech giants from buying AI chips from AMD and Nvidia while propelling Huawei's Ascend line to de facto standard in the Chinese market, guaranteeing Huawei revenue it would otherwise have to compete for.

The covert part is much harder to identify, but equally crucial: China also allegedly tolerates a shadow fab network that is, at least on paper, not directly associated with Huawei but is, for all intents and purposes, an arm of the giant, the opacity making it hard to pinpoint the direction and scale of Huawei's ambitions in the space. This is also why the US resorts to Entity List designations of Huawei's affiliates: Washington is trying to pierce a veil Beijing built on purpose.

The strongest corroborating signal, ironically, comes from Huawei's adversary: the US government's own Entity List designations imply that BIS investigators concluded these companies function as one network, which is as close to official confirmation as is currently available.

Huawei's move stems from a voracious appetite for AI-centric High Bandwidth Memory (HBM), which sanctions ensure it cannot source directly from international suppliers, with the US having tightened export controls to keep it, at least legally, out of Chinese hands.

While a Huawei that fabs its own DRAM would be a notable leap, it may be more of a potential future supplier to Apple than a direct competitor, as Apple is toying with the idea of buying memory from Chinese makers to ease its own supply issues.

Huawei's products do, however, compete with Apple in the smartphone segment, with Intel's server CPU offerings, and with Nvidia's AI chips, even as the last of these struggles to find a foothold in what was once one of its largest markets by revenue.

It does seem to have Samsung's Western position in its crosshairs as it builds toward zero Chinese dependency on suppliers Washington can sanction, but it has a lot of catching up to do to hold its own against the current king of the hill. Samsung holds a 3–4 year lead in HBM, arguably the gap that matters most, over China's CXMT, while its DRAM lead is much narrower and closing considerably faster against China-based memory makers.

Chinese makers have meanwhile reached relative parity in the NAND flash used in SSDs, an increasingly important space for AI, even as Huawei still relies on SMIC for CPU and GPU fabrication, a process roughly two nodes behind industry leader TSMC.

Huawei, at least on paper, has its own designs but does not fab them itself, leaving that to other specialist firms. But if the report holds true, it just might become the first real challenger to Samsung's position as chip designer, fabricator, and memory supplier all rolled into one.

A new Quordle puzzle appears at midnight each day for your time zone – which means that some people are always playing 'today's game' while others are playing 'yesterday's'. If you're looking for Tuesday's puzzle instead then click here: Quordle hints and answers for Tuesday, July 21 (game #1639).

Quordle was one of the original Wordle alternatives and is still going strong now more than 1,500 games later. It offers a genuine challenge, though, so read on if you need some Quordle hints today — or scroll down further for the answers.

Enjoy playing word games? You can also check out my NYT Connections today and NYT Strands today pages for hints and answers for those puzzles, while Marc's Wordle today column covers the original viral word game.

SPOILER WARNING: Information about Quordle today is below, so don't read on if you don't want to know the answers.

• The number of different vowels in Quordle today is 4*.

* Note that by vowel we mean the five standard vowels (A, E, I, O, U), not Y (which is sometimes counted as a vowel too).

• The number of Quordle answers containing a repeated letter today is 2.

• No. None of Q, Z, X or J appear among today's Quordle answers.

• The number of today's Quordle answers starting with the same letter is 2.

If you just want to know the answers at this stage, simply scroll down. If you're not ready yet then here's one more clue to make things a lot easier:

• C

• S

• A

• A

Right, the answers are below, so DO NOT SCROLL ANY FURTHER IF YOU DON'T WANT TO SEE THEM.

The answers to today's Quordle, game #1640, are…

• COYLY
• SINGE
• AWASH
• AWOKE

There are so many words beginning with S and ending in E that I got lucky using up just two guesses to get SINGE.

Elsewhere, having two words beginning A-W dramatically reduced my guessing time.

The answers to today's Quordle Daily Sequence, game #1640, are…

• PROUD
• WEAVE
• EATEN
• FIBER

• Quordle #1639, Tuesday, 21 July: TRUSS, AXIAL, SWINE, THING
• Quordle #1638, Monday, 20 July: ICING, SLICK, GAILY, RISEN
• Quordle #1637, Sunday, 19 July: SPURT, ACRID, THRUM, BLEEP
• Quordle #1636, Saturday, 18 July: KNAVE, TIGHT, BLEAT, CHAOS
• Quordle #1635, Friday, 17 July: CUMIN, PALER, GRASS, INBOX
• Quordle #1634, Thursday, 16 July: IGLOO, PLAIT, YEAST, AROMA
• Quordle #1633, Wednesday, 15 July: PROXY, BRICK, BROTH, SURGE
• Quordle #1632, Tuesday, 14 July: EBONY, AVOID, RODEO, CUTIE
• Quordle #1631, Monday, 13 July: VOICE, BISON, BURNT, BUILT
• Quordle #1630, Sunday, 12 July: STAIN, BINGO, LARVA, DICEY
• Quordle #1629, Saturday, 11 July: WORTH, PRONG, DINGO, DRUID
• Quordle #1628, Friday, 10 July: GREET, STEAK, DUSKY, HAUTE
• Quordle #1627, Thursday, 9 July: CRUMP, PHONE, SHINY, STONY
• Quordle #1626, Wednesday, 8 July: GHOST, TREND, EXALT, ALONG
• Quordle #1625, Tuesday, 7 July: ARRAY, SUITE, KIOSK, BOULE
• Quordle #1624, Monday, 6 July: TRAWL, SPICE, PIANO, SHARK
• Quordle #1623, Sunday, 5 July: PINEY, SWOON, TITLE, PINTO
• Quordle #1622, Saturday, 4 July: ARGUE, MOTEL, OPERA, TRUCE
• Quordle #1621, Friday, 3 July: AVERT, MOTOR, MANIC, WORDY
• Quordle #1620, Thursday, 2 July: BULKY, PARSE, BELOW, MOVIE