Hasta La Gadget!

Gig work predates the internet. Besides traditional forms of self-employment, like plumbing, offers for ad-hoc services have long been found in the Yellow Pages and newspaper classified ads, and later Craigslist and Backpage which supplanted them. Low-cost broadband internet allowed for the proliferation of computer-based gig platforms like Mechanical Turk, Fiverr and Elance, which offered just about anyone some extra pocket change. But once smartphones took off, everywhere could be an office, and everything could be a gig — and thus the gig economy was born.

Maybe it was a confluence of technological advancement and broad financial anxiety from the 2008 recession, but prospects were bad, people needed money and many had no freedom to be picky about how. This was the same era in which the phrase “the sharing economy” proliferated — at once sold as an antidote to overconsumption, but that freedom from ownership belied the more worrying commoditization of any skill or asset. Of all the companies to take advantage of this climate, none went further or have held on harder than Uber.

Uber became infamous for railroading its way into new markets without getting approval from regulators. It cemented its reputation as a corporate ne’er-do-well through a byzantine scandal to avoid regulatory scrutiny, several smaller ones over user privacy and minimally-beneficial surcharges as well as, in its infancy, an internal reputation for sexual harassment and discrimination. Early on, the company used its deep reserves of venture capital to subsidize its own rides, eating away at the traditional cab industry in a given market, only to eventually increase prices and try to minimize driver pay once it reached a dominant position. Those same reserves were spent aggressively recruiting drivers with signup bonuses and convincing them they could be their own boss.

Self-employment has a whiff of something liberatory, but Uber effectively turned a traditionally employee-based industry into one that was contractor-based. This meant that one of the first casualties of the ride-sharing boom were taxi medallions. For decades, cab drivers in many locales effectively saw these licenses as retirement plans, as they’d be able to sell them on to newcomers when it was time to hang up their flat cap. But in large part due to the influx of ride-sharing services, the value of medallions has plummeted over the last decade or so — in New York, for instance, the value of a medallion dropped from around $1 million in 2014 to $100,000 in 2021. That’s in tandem with a drop in earnings, leaving many struggling to pay off enormous loans they took out to buy a medallion.

Some jurisdictions have sought to offset that collapse in medallion value. Quebec pledged $250 million CAD in 2018 to compensate cab drivers. Other regulators, particularly in Australia, applied a per-ride fee to ride-sharing services as part of efforts to replace taxi licenses and compensate medallion holders. In each of those cases, taxpayers and riders, not rideshare companies, bore the brunt of the impact on medallion holders.

At first it was just cab drivers that were hurting, but over the years, compensation for this new class of non-employee app drivers dried up too. In 2017, Uber paid $20 million to settle allegations from the Federal Trade Commission that it used false promises about potential earnings to entice drivers to join its platform. Late last year, Uber and Lyft agreed to pay $328 million to New York drivers after the state conducted a wage theft investigation. The settlement also guaranteed a minimum hourly rate for drivers outside of New York City, where drivers were already subject to minimum rates under Taxi & Limousine Commission rules.

Many rideshare drivers have also sought recognition as employees rather than contractors, so they can have a consistent hourly wage, overtime pay and benefits — efforts that the likes of Uber and rival Lyft have been fighting against. In January, the Department of Labor issued a final rule that aims to make it more difficult for gig economy companies to classify workers as independent contractors rather than employees. The EU is also weighing a provisional deal to reclassify millions of app workers as employees.

Of course, the partial erosion of an entire industry’s labor market wasn’t always the end goal. At one point, Uber wanted to zero out labor costs by getting rid of drivers entirely. It planned to do so by rolling out a fleet of self-driving vehicles and flying taxis.

“The reason Uber could be expensive is because you’re not just paying for the car — you’re paying for the other dude in the car,” former CEO Travis Kalanick said in 2014, a day after Uber suggested drivers could make $90,000 per year on the platform. “When there’s no other dude in the car, the cost of taking an Uber anywhere becomes cheaper than owning a vehicle. So the magic there is, you basically bring the cost below the cost of ownership for everybody, and then car ownership goes away.”

Uber’s grand automation plans didn’t work out as intended, however. The company, under current CEO Dara Khosrowshahi, sold its self-driving car and flying taxi units in late 2020.

Uber’s success had second-order effects too: despite a business model best described as “set money on fire until (fingers crossed!) a monopoly is established” a whole slew of startups were born, taking their cues from Uber or explicitly pitching themselves as “Uber for X.” Sure, you might find a place to stay on Airbnb or Vrbo that’s nicer and less expensive than a hotel room. But studies have shown that such companies have harmed the affordability and availability of housing in some markets, as many landlords and real-estate developers opt for more profitable short-term rentals instead of offering units for long-term rentals or sale. Airbnb has faced plenty of other issues over the years, from a string of lawsuits to a mass shooting at a rental home.

Increasingly, this is becoming the blueprint. Goods and services are exchanged by third parties, facilitated by a semi-automated platform rather than a human being. The platform’s algorithm creates the thinnest veneer between choice and control for the workers who perform identical labor to the industry that platform came to replace, but that veneer allows the platform to avoid traditionally pesky things like legal liability and labor laws. Meanwhile, customers with fewer alternative options find themselves held captive by these once-cheap platforms that are now coming to collect their dues. Dazzled by the promise of innovation, regulators rolled over or signed a deal with the devil. It’s everyone else who’s paying the cost.

To celebrate Engadget’s 20th anniversary, we’re taking a look back at the products and services that have changed the industry since March 2, 2004.

This article originally appeared on Engadget at https://www.engadget.com/how-uber-and-the-gig-economy-changed-the-way-we-live-and-work-164528738.html?src=rss

Apple will finally launch new iPads in early May, according to Bloomberg’s Mark Gurman. Expected are a new iPad Pro with an OLED display and a faster iPad Air, including a 12.9-inch model for the first time in that lineup. The details of the upcoming iPad models have been consistent, circulating through the rumor mill since last year.

The new iPad Pro models will reportedly add OLED displays (offering deeper blacks and richer colors) and run on the new M3 chip, already found in several Macs. The new tablets are said to launch alongside a redesigned Apple Pencil and Magic Keyboard. Other than a white color option, the latter has remained unchanged since its arrival four years ago.

Meanwhile, the iPad Air will supposedly run on a new processor. Bloomberg didn’t specify which, but — considering the current model uses the M1, and Apple likely wants to reserve the M3 for the more expensive Pro — the M2 sounds like a safe bet. The 12.9-inch screen option would mark the first time the iPad Air line has offered a display larger than 10.9 inches. Although Apple will charge more for that model than the smaller sibling expected alongside it, that would be the cheapest way yet to get a supersized iPad screen.

Gurman said early this month that the new tablets would launch alongside the M3 MacBook Air, but the laptop arrived without any iPads in tow. He now reports that Apple’s release schedule was pushed back to finish working on the devices’ software and ironing out the kinks from the “complex new manufacturing techniques” they require.

This article originally appeared on Engadget at https://www.engadget.com/an-oled-ipad-pro-and-the-first-big-screen-ipad-air-will-reportedly-arrive-in-may-204056132.html?src=rss

I had a favorite version of Mulan growing up (Anita Yuen in the 1998 Taiwanese TV series). I obsessed over Chinese period TV series like Legend of the Condor Heroes, My Fair Princess and The Book and the Sword. I consider myself fairly well-versed in Chinese historical figures, especially those represented in ‘90s and 2000s entertainment in Asia. So when I found out that a UK-based studio had made a VR game called The Pirate Queen based on a forgotten female leader who was prolific in the South China Sea, I was shocked. How had I never heard of her? How had the Asian film and TV industry never covered her?

I got to play a bit of the game this week, which was released on the Meta Quest store and Steam on March 7th. The titular character Cheng Shih is voiced by actor Lucy Liu, who also executive produced this version of the game with UK-based Singer Studios’ CEO and founder Eloise Singer. Liu and Singer sat with me for an interview discussing The Pirate Queen, Cheng Shih, VR’s strengths and the importance of cultural and historical accuracy in games and films.

Cheng Shih, which translates to “Madam Cheng” or “Mrs Cheng,” was born Shi Yang. After she married the pirate Cheng Yi (usually romanized as Zheng Yi), she became known as Cheng Yi Sao, which translates to “wife of Cheng Yi.” Together they led the Guangdong Pirate Confederation in the 1800s. Upon her husband’s death in 1807, she took over the reins and went on to become what South China Morning Post described as “history’s greatest pirate.”

Singer Studios

How did Singer Studios learn about Cheng Shih and decide to build a game (and upcoming franchise including a film, podcast and graphic novels) around her? According to Singer, it was through word of mouth. “It was a friend of mine who first told me the story,” Singer said. “She said, ‘Did you know that the most famous pirate in history was a woman?’”

Cheng Shih had been loosely referenced in various films and games before this, like the character Mistress Ching in the 2007 film Pirates of the Caribbean: At World’s End and Jing Lang in Assassin’s Creed IV: Black Flag. As Singer pointed out, Cheng Shih had also appeared in a recent episode of Doctor Who.

Singer said that her team started developing the project as a film at the end of 2018. But the pandemic disrupted their plans, causing Singer to adapt it into a game. A short version of The Pirate Queen later debuted at Raindance Film Festival, and shortly after, Meta came onboard and provided funding to complete development of the game. Liu was then approached when the full version was ready and about to make its appearance at Tribeca Film Festival 2023.

“The rest is history,” Liu said, “But not forgotten history.” She said Cheng Shih was never really recognized for being the most powerful pirate. “It seems so crazy that in the 19th century, this woman who started as a courtesan would then rise to power and then have this fleet of pirates that she commanded,” Liu added. She went on to talk about how Cheng Shih was ahead of the time and also represented “a bit of an underdog story.” For the full 15-minute interview, you can watch the video in this article or listen to this week’s episode of The Engadget Podcast and learn more about Liu and Singer’s thoughts on VR and technology over the last 20 years.

Capturing the historical and cultural details of Cheng Shih’s life was paramount to Liu and Singer. They said the team had to create women’s hands from scratch to be represented from the player’s perspective in VR, and a dialect coach was hired to help Liu nail the pronunciation for the Cantonese words that Cheng Shih speaks in the game. Though I’m not completely certain if Cheng Shih spoke Mandarin or Cantonese, the latter seems like the more accurate choice given it’s the lingua franca in the Guangdong region.

Singer Studios

All that added to the immersiveness of The Pirate Queen, in which players find themselves in an atmospheric maritime environment. The Meta Quest 3’s controllers served as my hands in the game, and I rowed boats, climbed rope ladders and picked up items with relative ease. Some of the mechanics, especially the idea of “teleportation” as moving around, were a little clunky, but after about five minutes I got used to how things worked. You’ll have to point the left controller and push the joystick when you’ve chosen a spot, and the scene changes around you. This probably minimizes the possibility of nausea, since you’re not standing still while watching your surroundings move. It’s also pretty typical of VR games, so those who have experience playing in headsets will likely be familiar with the movement.

You can still walk around and explore, of course. I scrutinized the corners of rooms, inspected the insides of cabinets and more, while hunting for keys that would unlock boxes containing clues. A lot of this is pretty standard for a puzzle or room escape game, which is what I used to play the most in my teens. But I was particularly taken by sequences like rowing a boat across the sea and climbing up a rope ladder, both of which caused me to break a mild sweat. Inside Cheng Shih’s cabin, I lit a joss stick and placed it in an incense holder — an action I repeated every week at my grandfather’s altar when I was growing up. It felt so realistic that I tried to wave the joss stick to put out the flame and could almost smell the smoke.

It’s these types of activities that make VR games great vehicles for education and empathy. “We didn’t want to have these combat elements that traditional VR games do have,” Singer said, adding that it was one of the challenges in creating The Pirate Queen.

“It’s nice to see and to learn and be part of that, as opposed to ‘Let’s turn to page 48,’” Liu said. “That’s not as exciting as doing something and being actively part of something.” When you play as a historical character in a game, and one that’s as immersive as a VR game, “you’re living that person’s life or that moment in time,” Liu added.

While The Pirate Queen is currently only available on Quest devices, Singer said there are plans to bring it to “as many headsets as we possibly can.” Singer Studios also said it is “extending The Pirate Queen franchise beyond VR into a graphic novel, film and television series.”

This article originally appeared on Engadget at https://www.engadget.com/the-pirate-queen-interview-how-singer-studios-and-lucy-liu-brought-forgotten-history-to-life-160007029.html?src=rss

Last year, Polestar announced its most practical EV yet in the Polestar 4. But this week, during the vehicle’s North American debut at the New York International Auto Show, we finally got an official launch price and a chance to check out its most controversial feature.

Positioned as a slightly smaller and more affordable version of the Polestar 3, the company’s latest EV SUV has a lot riding on it as it looks to be Polestar’s most appealing mainstream offering to date. The good news is that while the cost was initially said to be around $60,000, launch pricing actually comes in slightly below that. The Polestar 4 starts at $56,300 (including destination) for the standard long-range single-motor version with around 300 miles of range while the dual-motor AWD variant with around 270 miles will set you back $64,300.

Photo by Sam Rutherford/Engadget

Granted, that’s still significantly higher than many of its rivals including the Tesla Model Y which starts at $43,900 (before federal incentives) or the Hyundai Ioniq 5 at $47,400. But after talking to Polestar CEO Thomas Ingenlath, I got the sense that the company is kind of OK with that, as they view the 4 as a more approachable but still very premium offering among EV SUVs.

On the outside, the Polestar 4 retains the rakish good looks we’ve seen on its larger sibling but with a few twists. Its nose is a bit pointier and more sloped, and it’s a bit less complicated too as it doesn’t have a front wing like the 3. The Polestar 4 is still based on the low-slung coupe-like SUV shape that’s all the rage right now. However, to ensure that rear-seat passengers have ample room, Polestar has forgone a rear window entirely, opting instead for a simple sheet of metal along with cameras and a rearview mirror with an embedded display.

Photo by Sam Rutherford/Engadget

At first, this might seem like a step too far, even for an EV that might not be beholden to the same burden of tradition as gas cars. But Ingenlath explained that there are a lot of advantages that come from this design change. By not having a rear window, Polestar was able to push the rear seats back further while maintaining ample headroom despite the sloping roofline, which creates a spacious cabin. I had no trouble climbing in and out and even with the front seats pushed as far back as possible, I still had ample legroom in the back. Furthermore, unlike most cars, the Polestar 4’s rear seats can recline, which adds even more of a loungey feel.

Another major advantage is one of practicality. As it is, the rear windows on a lot of coupe SUVs are so small they don’t provide much in the way of useful visibility. And that’s before you consider any passengers or luggage that might further obstruct your view. By replacing the rear window and mirror with a camera and a display, the Polestar 4 can offer an unobstructed perspective out of the back of the car. But perhaps most importantly, the idea of a car not having a rear window isn’t really unheard of, as there are thousands of cargo vans on the road today without a viewport in back.

So while the idea might still seem nerve-wracking, Ingenlath remains confident. He simply asked customers to “try it.” He added “There’s so much about psychology and people being naturally opposed to change. But innovation is about asking what have been the rules in the past that don’t necessarily need to be the rules in the future.”

The company’s Scandinavian heritage shows through with a streamlined interior. That said, Ingenlath said the goal isn’t minimalism for minimalism’s sake. By creating a new fabric made from recycled plastic bottles called Soft Tech, Polestar was able to line the cabin with a sustainable 3D material that allows ambient lighting to shine through while still being quite durable. Up top, the fixed glass roof is electrochromic, which allows it to switch from transparent to opaque with the touch of a button.

Photo by Sam Rutherford/Engadget

One thing that stuck out to me was that like all of Polestar’s vehicles, the 4 feels like a designer’s car. As someone who got his start in the industry creating cars for VW, Audi and others before becoming the CEO of Polestar, Ingenlath said the company really cares about small details like the font and typography. You can see this in things like the text on the driver’s side door, which features both the name of the car and the size of its battery, resulting in a label that’s both pretty and informative. Alternatively, there are features like the ambient lighting, which uses a naming standard based on planets in the solar system (blue with a hint of green for Earth, red for Mars, etc.). Ingenlath said “We simply love what we’re doing, and we love indulging that passion. And we have to find the people who share the same passion for that type of quality and technology.”

Unfortunately, we haven’t had the chance to take the 4 out for a drive just yet. But as the competition among EVs continues to increase, it’s clear Polestar is carving out a niche as a manufacturer that embraces innovation through its vehicles. With pre-orders going live sometime in April and deliveries slated for Q4 2024, it shouldn’t be long until we get a chance to experience how the Polestar 4 feels on the road.

This article originally appeared on Engadget at https://www.engadget.com/polestar-4-first-look-when-no-rear-window-makes-for-a-better-car-150052884.html?src=rss

Snapchat has a new AI-powered perk for subscribers: Bitmoji versions of your pet. The feature, which is unfortunately not called “petmoji,” allows users to snap a photo of their four-legged friend to create a cartoon-like avatar to accompany their Bitmoji in the Snap Map.

Based on screenshots shared by the company, it seems users will be able to choose from a few different variations of the AI-generated images after sharing a photo of their pet. That’s considerably less customization than what you can do with your own human-inspired Bitmoji,though it should allow users to create something that looks similar to their IRL pet. (No word on if Snap could one day introduce branded pet accessories for animal avatars like they do for human Bitmoji.)

The addition is also the latest example of how Snap has embraced AI features in its subscription offering. Since debuting Snapchat+ in 2022, the company has used the premium service to experiment with generative AI features, including its MyAI assistant as well as camera-powered features like Dreams and AI-generated snaps. Snapchat+ has more than 7 million subscribers, the company announced in December.

Elsewhere, Snap added some updates for non-subscribers, too. The app is adding a new template feature to make it easier to edit clips, and new swipe-based gestures to send and edit snaps more quickly. Snapchat will also support longer video uploads for Stories and Spotlight. In-app captures can now be three minutes long, while the app will support uploads of up to five minutes.

This article originally appeared on Engadget at https://www.engadget.com/snapchats-latest-paid-perk-is-an-ai-bitmoji-of-your-pet-235027028.html?src=rss