In this immense image, NSF-DOE Vera C. Rubin Observatory offers a brand new view of two old friends: the Trifid and Lagoon Nebulae. The image provides a demonstration of what makes Rubin unique: its combination of an extremely wide field of view and the speed that allows it to take lots of big images in a very short time. (LSST via SWNS)
By Talker
By Dean Murray
The world’s largest digital camera has revealed its first images.
The size of a small car, the Legacy Survey of Space and Time (LSST) camera weighs nearly 2,800 kilograms and boasts an extraordinary 3,200-megapixel resolution.
Located at the NSF–DOE Vera C. Rubin Observatory atop the Cerro Pachón mountain in Chile, the camera has already captured millions of galaxies and stars in the Milky Way, as well as thousands of asteroids in just over 10 hours of initial test observations.
This image, one of the first released by Rubin Observatory, exposes a Universe teeming with stars and galaxies, transforming seemingly empty, inky-black pockets of space into glittering tapestries for the first time. Here, Rubin’s view is focused on the southern region of the Virgo Cluster, about 55 million light-years away from Earth and the nearest large collection of galaxies to our own Milky Way. (LSST via SWNS)
The images offer a preview of the observatory’s ten-year Legacy Survey of Space and Time, which aims to create an ultra-wide, ultra-high-definition time-lapse record of the Universe by scanning the sky nightly.
Each image from the LSST Camera covers an area as large as 45 full Moons and is so detailed that displaying one at full scale would require 400 ultra-high-definition televisions.
This annotated first look image of the Virgo Cluster was captured by the NSF-DOE Vera C. Rubin Observatory. From sizable stars to sprawling galaxies, Rubin transforms seemingly empty pockets of space into glittering tapestries. (LSST via SWNS)
By Talker
Over the next decade, the observatory is expected to catalog around 20 billion galaxies and discover millions of new asteroids, dramatically expanding our understanding of the cosmos.
The unprecedented data gathered will help scientists investigate some of the Universe’s most profound mysteries, including the nature of dark matter and dark energy, the structure of the Milky Way, and the evolution of our Solar System.
During its ten-year survey, Rubin will generate approximately 20 terabytes of data per night, plus an additional 15 petabytes of catalog database. In 10 years, Rubin data processing will generate around 500 petabytes, and the final dataset will contain billions of objects with trillions of measurements.
Formula 1 has grown significantly over the years, with strict safety regulations that are life-saving on one hand but can lead to heavy penalties for drivers if even slightly violated. However, there was a time in the 1990s when things were a little less rigid — like the iconic moment during the British Grand Prix at Silverstone, when Ayrton Senna hitched a ride on the body of Nigel Mansell’s F1 car after his own had run out of fuel.
When Ayrton Senna ran out of fuel and hitched a ride on track
The legendary British Grand Prix moment was recently shared by F1 on their X handle, leaving motorsport fans in awe. The video shows Senna taking a ride back to the garage on Mansell’s car after the latter had just won the race — and was gracious enough to offer a lift.Nigel Mansell had won the 1991 British Grand Prix at Silverstone, starting from pole position while racing for Williams-Renault. Ayrton Senna, who finished fourth, ran out of fuel in his McLaren-Honda on the final lap. True to his sporting nature, he accepted the lift back to the pits.
Fans call the British Grand Prix moment “iconic”
F1 fans hailed the moment on X, calling it “legendary” and “iconic.” Many also questioned whether such an act would even be legal under today’s regulations. One user commented, “F1 history in one frame!” Another wrote, “@fia unban this stuff bro, drivers should be allowed to have fun.” A third said, “This is one of my favorite F1 moments.”Another comment read, “In today’s highly regulated F1, both drivers would get points on their license and/or some kind of grid penalty for the next race. Lord save us from officialdom.” In the comments section, a user also shared another video clip and pointed out, “You left out the funniest part — when the marshal tries to stop him and Senna pushes him away.”Tragically, Senna lost his life three years later in a racing accident during the 1994 San Marino Grand Prix at Imola.Also Read: Arvid Lindblad will make F1 debut with practice session at British Grand Prix, could replace Max VerstappenThe British Grand Prix returns this year to Silverstone, scheduled from July 4 – 6. It’s a special home race for McLaren’s Lando Norris, who just claimed his third win of the season in Austria on Sunday.
NASA+ on Netflix will show rocket launches like the SpaceX Falcon 9 carrying the company’s Crew … More Dragon spacecraft and astronauts to the ISS. (Photo by SpaceX via Getty Images)
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The countdown is over. NASA announced earlier today that it will be providing its NASA+ programming service on Netflix. Rocket launches, astronaut spacewalks, mission coverage and live views of Earth from the International Space Station will all form part of the content available from the subscription streaming service.
Although NASA stated that the move would begin “starting this summer,” neither the agency nor Netflix provided a specific date.
However, NASA did confirm that the move would be global, stating that “Netflix reaches a global audience of more than 700 million people.” Netflix had 300 million paid memberships in March 2025.
What Is NASA+?
NASA+ isn’t new. It launched as a standalone, free streaming service in 2023 as an upgrade to NASA TV. It hosts content from active missions, research labs and the ISS, as well as archive footage and documentaries.
Nor is this an exclusive content deal. Although Netflix will provide a feed from NASA+, the service will remain available at no cost and ad-free via the NASA app and on the agency’s website.
1958 Space Act
“The National Aeronautics and Space Act of 1958 calls on us to share our story of space exploration with the broadest possible audience,” said Rebecca Sirmons, general manager of NASA+ at the agency’s headquarters in Washington, D.C. “Together, we’re committed to a Golden Age of Innovation and Exploration – inspiring new generations – right from the comfort of their couch or in the palm of their hand from their phone.”
In a press release, NASA added that its goal with the Netflix deal was to “bring the excitement of the agency’s discoveries, inventions, and space exploration to people, wherever they are.”
What To Expect From NASA+
The main attraction for most Netflix users will be the chance to watch rocket launches from Cape Canaveral — typically SpaceX Falcon 9 launches taking astronauts to the ISS, as well as the return of crew members via parachute. Viewers will also get real-time science briefings, behind-the-scenes mission prep and live broadcasts from astronauts on the ISS.
It’s not clear when NASA+ will debut on Netflix, but the next rocket launch is scheduled for 3:32 p.m. EDT on July 3, when Roscosmos plans to launch an ISS Progress 92 cargo capsule from the Baikonur Cosmodrome in Kazakhstan.
St. Louis Blues President of Hockey Operations and General Manager Doug Armstrong announced today the Blues have signed forward Nick Bjugstad to a two-year contract worth $3.5 million ($1.75 million annual average value).
Bjugstad, 32, appeared in 66 regular-season games with the Utah Mammoth last season, posting 19 points (eight goals, 11 assists) and 16 penalty minutes.
A native of Minneapolis, Minnesota, the 6-foot-5, 205-pound forward has amassed 330 points (157 goals, 173 assists) and 344 penalty minutes in 760 career NHL regular-season games, including stints with Florida, Pittsburgh, Minnesota, Arizona, Edmonton and Utah.
He has also totaled eight points (six goals, two assists) and 22 penalty minutes in 27 career postseason games.
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Justin Alexander was not only the designer of both of Tiler’s wedding dresses—he was also in attendance, celebrating the full-circle moment he inadvertently helped create.
For the ceremony, Tiler wore a dramatic ivory gown with off-the-shoulder swags and a sweeping train adorned in three-dimensional rosettes and vines. Pearl beading glinted from the centers of rosebuds and traced the curves of appliquéd leaves. Her hair, parted deep to the side, evoked the silver screen sirens of the 1940s. Completing the look: pearl-encrusted Jimmy Choo sandals with serpentine straps that shimmered as she moved with the control and elegance of a true principal. Roman wore a black Dolce & Gabbana tuxedo for the ceremony, then changed into a white jacket for the reception.
Her second dress, also by Alexander, traded structure for movement: a lace strapless gown with a sweetheart neckline over a soft beige slip. The sheer ivory overlay was embroidered with delicate florals and leafy vines—romantic, ethereal, and, as she put it, “built to dance in.”
The ceremony was deeply personal. Tiler carried a locket with a photo of her late father fastened to her bouquet, and walked down the aisle to his favorite song, played live by their dear friend and violinist Hilary Hahn. “I felt him strongly as I walked,” she says. “I will never forget the way Roman looked at me.” Roman’s vows included memories of the many cross-country trips he took with Tiler to visit her father in his final year—acts of quiet devotion that, in hindsight, revealed the depth of his love. “Even though I feel his love every day,” she says, “I had never heard it articulated like that before.”
Officiated by Reverend Timothy Weisman, the ceremony ended with cheers and kisses, and the couple stepped out into the sunshine. “It was a hot summer day,” Tiler recalls. “Quintessentially New York.”
Planned by longtime friend Claudia Hanlin of The Wedding Library—whom Tiler called “the MVP of our wedding”—the celebration was filled with thoughtful details and warm textures. Claudia sourced everything from hand-painted candles from Ukraine to custom block-printed cushions from India, and collaborated with Marcella Floral Studio on lush, painterly florals. “She knows my taste so well,” Tiler says. “I trusted her completely.”
The tented garden party behind Tavern on the Green struck the right note: elegant, unfussy, and anchored by a sense of place. Tables were layered in printed linens, softly glowing taper candles, and overflowing florals in blush, cream, and green. Escort cards, ceremony programs, and menu cards were all custom-designed by The Wedding Library in collaboration with Bella Figura.
AstraZeneca’s chief executive Pascal Soriot has reportedly said that he would like to shift the company’s stock market listing from the UK to the US.
The boss of Britain’s most valuable listed company has spoken privately about a preference to move the listing to New York, the Times reported. It added that he had also considered moving the company’s domicile.
The FTSE 100 company’s share price rose by 2.8% on Tuesday, with most of the increase happening after the story was published.
A shift in AstraZeneca’s listing would deal a major blow to the London Stock Exchange, which has already had to deal with a series of departures by companies seeking higher valuations. Among those who have left the FTSE 100 in recent years are equipment rental company Ashtead, Paddy Power bookmaker owner Flutter Entertainment, building materials supplier CRH and packaging company Smurfit Westrock.
A shift by AstraZeneca would almost certainly face opposition by the UK government, although it would not have the power to formally block a move. Labour made life sciences one of its key growth sectors in its industrial strategy published last month.
A spokesperson for AstraZeneca declined to comment.
AstraZeneca is thought to have expressed frustrations privately with the rejection of its breast cancer drug, Enhertu, by the NHS on cost grounds. Earlier this year, the company, headquartered in Cambridge, caused consternation in government by pulling out of a £450m project to produce vaccines in Speke, Liverpool, while saying that the business case did not make sense without more financial support from government.
Soriot has overseen the market value of AstraZeneca more than tripling since he took over in October 2012. The company has overtaken oil company Shell – also seen as a contender for a move to the US – and HSBC, a bank, with a market value of £157bn.
The US is the world’s biggest pharmaceutical market, with by far the highest spending per person on medicines despite having a lower life expectancy than several other countries. UK executives have long complained that their companies are undervalued compared with American counterparts.
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Soriot has emphasised the company’s ambitions to grow in the US. In November, he told investors that “we want to see even more growth in the US over the next few years as part of our 2030 ambition,” according to a transcript from data company Alphasense. The “US is, of course, a very important market and that supports innovation, and we will continue to invest to grow fast in this part of the world,” Soriot said.
The chief executive’s pay has increased in line with AstraZeneca’s market value. He has been the highest-paid chief executive on the FTSE 100 for two years running, receiving £16.85m for 2023, up from £15.3m in 2022.
The phone has a grid design with three columns, representing the flexible printed circuit boards underneath. The triple-camera system is laid out along the top of these grids with the Glyph Matrix display—more on that in a second. It’s an unusual style that breaks from circular or rectangular camera modules in most phones.
The Glyph Matrix is an evolution of Nothing’s famous Glyph LEDs on prior phones. Originally designed to light up when notifications arrived, it also used the lights creatively to show how much time was left on a timer, or how close your Uber driver was to your location. The new Glyph Matrix can do all that and more, because it acts more like a display.
Nothing showed off several new “Glyph Toys” launching with the phone, like the ability to see a pixelated preview of yourself so you can take selfies with the rear cameras. There’s also a spin-the-bottle game, a Magic 8 Ball that gives you an answer when you shake the phone, and even a game of rock-paper-scissors. Intuitively, there’s a little touch-sensitive circle below you can use to cycle through these modes, instead of having to constantly switch back and forth to the settings menu on the phone’s front screen. Nothing has launched a software developer kit, so anyone can create Glyph Toys for the phone.
Another fun feature is the little red square on the back. Originally on the Phone (2a), it’s now more than just a design accent. It lights up when you’re recording a video, just like a recording light.
The phone may not have the top-of-the-line Snapdragon 8 Elite, instead opting for the slightly lesser Snapdragon 8s Gen 4, but it still should deliver flagship-grade performance, and the rest of the specs rival competitors, especially at the $799 price. Especially notable is the use of a silicon-carbon battery, a relatively new technology that enables denser batteries in thinner designs. While it’s slightly thicker than its predecessor (by 0.2 mm), the 5,150 mAh is decently larger than the 4,700 mAh in the Phone (2).
With the third generation of its smartphone series, Nothing made the unusual move to launch the cheaper ‘a’ line first, unveiling . Now, it’s time for its latest flagship. The Nothing Phone 3, starting at $799 (with a $899 option with 16GB of RAM) goes up against giants like the Google and — a competitive slice of the smartphone world. Once again, though, there’s nothing in the market that quite resembles a Nothing, as the company attempts to balance distinctive design with flagship (and some not-quite-flagship) components.
The big change this time around is that Nothing is swapping the flashing lights of its Glyph Interface for a tiny dot-matrix display on the rear of the device and is calling it the Glyph Matrix.
Image by Mat Smith for Engadget
It’s the shiny design lynchpin of Nothing’s Phone 3. The matrix is made of 489 LEDs, and offers more utility than a light show. Nothing says it’s an evolution of the flashing lights of the Glyph Interface into something more practical. With that aim, there’s a Glyph button that sits under the glass back. Another benefit of this shift, Adam Bates, is that removing the Glyph lights freed up more space within the phone.
Instead of having the lights on the back flash in patterns to indicate when certain contacts are calling, the Phone 3’s new tiny screen can display monochromatic images instead. At first, these will be preset shapes, but eventually, you’ll be able to customize your own animation (or static dot-matrix image — it’s unclear) for each of your contacts. Ahead of launch, Nothing shared a that lets people take photos and turn them into Glyph patterns, but it’s like a very, very small Gameboy camera (but worse). The one I took kinda looks like my head? I guess? At least there’s a contrast, and gives a glimpse of what users might be able to show on the matrix screen
That’s me? (Image by Mat Smith for Engadget)
Alongside Glyph-style notifications, the matrix will be able to display simple widgets, such as weather and battery levels. It can be a stopwatch, and even a low-res mirror (more on that later). It can also be used as a visual countdown when using a timer with the camera, too. And there will even be games, like rock-paper-scissors and er, spin the bottle. Thankfully, Nothing didn’t make the assembled media test this at its big global launch. You’ll be able to make your own Glyphs through an SDK being released by Nothing. It’ll be interesting to see how difficult it is to program your own glyphs. You know what I want, already? A .
My first impression is that it’s a little more restrained than the light show of the Glyph Interface on previous phones. Additionally, a dot-matrix design really aligns with the era of design inspirations that Nothing is drawing from. You can lightly interact with the matrix through the Glyph button, which is intriguingly built under the rear cover of the Nothing Phone 3. It’s a single button, so learning the quirks of a long-press and a short-press, especially when there’s no tactile response, takes a bit of time.
Flanked by other eager photographers, YouTubers and media, I took a little too much time making the Glyph mirror work. Weirdly, you can’t use it as a selfie guide with the primary cameras, or at least I didn’t figure out how to during my hands-on.
Elsewhere, the design is inspired by the lines and shapes of the New York City subway map, while the see-through back of the Phone 3 has a three-column design that divides the component curves, camera modules and glyph matrix.
The Phone 3 is Nothing’s thinnest phone yet and is 18 percent thinner than the Phone 2. The new Nothing flagship also lacks the chonky camera unit that’s on the Phone 3a Pro. This is because, this time, Nothing has the budget to do so: the Phone 3 costs $350 more, so it can use smaller (even custom-made) components to shrink the footprint.
Instead, the three-camera layout reminds me a lot of the latest Galaxy S24 Ultra, with only slightly protruding camera lenses. It’s not flush, but perhaps I’m asking for too much — the only contemporary smartphone with an entirely flat camera unit is the Pixel 9a.
Despite its slimmer profile, the device still features a periscope zoom on a 50-megapixel sensor. It goes up to 3x optical zoom, 6x digital zoom and a 60x AI Super Res Zoom. (Yes, we all blame Google and Samsung for this nonsense.) This will also serve as a macro camera, allowing for clearer close-up shots.
The main camera is also 50MP, with an f/1.68 aperture (Nothing says it’s 70 percent faster at capture than the Phone 2) and even includes a lossless 1.5x zoom. There’s also an ultrawide camera with a 114-degree field of view and, you might have guessed, a 50MP sensor. Even the front-facing camera is 50MP. Expect the usual Android array of shooting features across the camera system, including Auto Tone, Portrait Optimizer, Night Mode Macro Mode and Action Mode. There are also several shooting presets to browse for your favorite shooting aesthetic, which I enjoyed playing with on a demo unit.
Image by Mat Smith for Engadget
I’m hopeful that the Phone 3 will be a capable enough smartphone camera. Taking some early shots, during a hectic hands-on session at the launch event, the camera app seemed faster than past Nothing devices and low-light processing seemed pretty close to the likes of Google’s Pixel.
Imaging has typically been the weakest part of Nothing’s phone strategy, but each iteration it gets better. It’s something I’m looking forward to putting to the test. Nothing has added an LED light that flashes red to indicate video recording. This can still be disabled in settings, but it’s a nice touch that taps into the red splashes you’ll see throughout Nothing’s hardware and software.
The Phone 3 also packs the company’s brightest display yet, reaching up to 1600 nits at its maximum brightness settings, peaking at 4,500 nits with compatible HDR content, The 6.67-inch screen has a higher 1.5K resolution than the Phone 2. There’s also IP68-rated protection against dust and water.
Rounding out the spec sheet, the phone has a Snapdragon 8s Gen 4 processor, marking the biggest compromise this year. Nothing told me that the Phone 3 wasn’t chasing specs like phones that cost several hundred dollars more. However, the Galaxy S25 has the more powerful Snapdragon 8 Elite, and it’s also $800.
Image by Mat Smith for Engadget
The good news is that the Phone 3 shouldn’t be perceptibly slow or laggy — the company says it’s five times faster than the Phone 3a. Nothing added there should be a 60 percent improvement on AI performance compared to the Phone 2. I’m intrigued to see how battery life fares, but not too worried. The OnePlus 13 Pro had the same processor and performed very well in our battery rundown test.
The 5,150mAh silicon-carbon battery can be charged to 50 percent in 20 minutes with a compatible 65W charger, and up to 100 percent in under an hour. It’s one of the first phones to arrive in the West with a silicon-carbon cell, adding further intrigue to how well the battery life will perform. There’s also 15W wireless charging, which Nothing seems to be keeping exclusive to its most premium phones.
The Phone 3 runs Android 15 out of the box, but with Nothing’s spin on things, featuring custom icons and native apps. That includes Essential Space, which works with a hardware button launcher first introduced on the 3a. While there were rumors that Nothing might fold the feature into a subscription, it’ll be free for the foreseeable future. However, Smart Collections, which was meant to collate screenshots and other files is still being worked on and won’t be available at launch.
The focus, software-wise, may be the new Glyph Matrix, but you can expect some of the typical AI-assisted features like natural language search that Nothing calls Essential search. It will be able to tap into everything on the Nothing Phone 3. Nothing’s cheaper 3a devices leaned into software too, but with the Phone 3 there’s more importance on the specs. The question is: Is this flagship enough?
Image by Mat Smith for Engadget
The Phone 3 is priced at $799 with 12GB of RAM and 256GB of storage. An $899 model will also launch with 16GB of RAM and 512GB storage. Both black and white versions will be available to pre-order on July 4, with sales starting July 15 on its own store at . The company plans to launch its own drops in select physical locations on July 10.
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And the best-performing local original production, or LOP, for Warner Bros. Discovery‘s Max, soon-to-be-rebranded as HBO Max, globally is … drum roll, please … Turkish satire series The Prince (Prens).
On Friday, the final episode of the third season of the hit series became available and seems to have helped seal the deal, according to company data.
Starring Giray Altınok as the Prince, the show is “set in the imaginary kingdom of Bongomia and follows the comedic adventures of the prince, a very unpopular member of the kingdom whose own family didn’t even bother to give him a name,” according to a synopsis.
Over the past month, the Turkish Max original achieved “the highest level of engagement of any Max local original production globally,” with 74 percent of subscribers in the country tuning in to it, according to WBD.
Over the same period, The Prince proved to be a key driver for new subscribers, becoming “the first show that almost three in four (73 percent) of new Max users watched — the highest nominal acquisition volume for a local original production” in a country in the Europe, Middle East and Africa (EMEA) region, company data shows.
During its finale week, season three of The Prince accounted for 72 percent of all viewing on Max in Türkiye, WBD said, adding: “The final episode (season three episode eight), released just three days ago, became the most viewed episode of the week with 54 percent of total viewers already having watched the finale.”
Deniz Şaşmaz Oflaz
Courtesy of Warner Bros. Discovery
WBD’s transition of its streaming service BluTV to Max in Turkey became official in mid-April as the Hollywood giant underlined its “commitment to increasing its investment in local content” and “bringing a compelling slate of new local stories” to its streamer in the country.
“The response to Prens just shows how strong the demand for high-quality, locally produced originals is and highlights Max as the home of this type of content,” Deniz Şaşmaz Oflaz, vp of local original productions, local channels and streaming operations lead for Türkiye, tells THR. “As one of our first original series since launching the platform direct-to-consumer in Türkiye earlier this year, it’s exciting to see Prens playing a key role in attracting new viewers to the platform.”
In a recent THR interview, she described the series this way: “It looks like a comedy, but it’s more of a dramedy. … The lead character is the prince, who doesn’t want to be on the throne and is not really that smart. And then we see all these typical things happening in this kingdom that we’ve been seeing in such series as Game of Thrones. So it’s a satire.”
