By John Gruber
OpenAI, Anthropic, Cursor, and Perplexity chose WorkOS over building it themselves.
Interesting take on the Pixel 4, but what really grabbed my attention was Rene Ritchie pointing out that Morrison shot this video using the front-facing iPhone 11 camera. It’s 4K 60 FPS and, like everything Morrison shoots, looks fantastic. Most high-end Android phones — including the Pixel 4 — can’t shoot 4K/60 with the rear camera.
There are nuanced arguments to be had regarding the competitive landscape in high-end phone camera still photography, but video is another area where Apple is indisputably years ahead of all competition.
Luna Display:
We’re always looking for ways to give our users the freedom and flexibility that their workflow deserves. Luna Display’s launch in the fall of 2018 blasted us off into an arena that no company had successfully played in before — we’d created a device that could turn your iPad into a second display for Mac.
Since then, we’ve continued to ask ourselves, “Is there more that we could be doing with Luna Display?” The answer was sitting right under our noses in the form of all the idle Macs we had laying around our development space. What if we could turn people’s e-waste into extra screen space!
What a great idea — a fantastic use case for older 5K iMacs that would otherwise be put out to pasture. Here’s how Luna Display co-founder and CEO Matt Ronge introduced it on Twitter:
After Apple “sherlocked” @LunaDisplayHQ, we put our heads together on how we could make Luna even better
So I’m excited to announce today… Mac-to-Mac Mode for Luna Display! Turn any extra Mac into a second display. Apple zigs, we zag.
The “sherlocking”, of course, is the new Sidecar feature in iPadOS 13 and MacOS 10.15 Catalina that allows recent Macs to use iPads as external displays. Zigging when Apple zags is exactly the right attitude for third-party developers.
Toluse Olorunnipa, David A. Fahrenthold, and Jonathan O’Connell, reporting for The Washington Post:
President Trump has awarded the 2020 Group of Seven summit of world leaders to his private company, scheduling the summit for June at his Trump Doral golf resort in Miami, the White House announced Thursday.
That decision is without precedent in modern American history: The president used his public office to direct a massive contract to himself.
Trump’s Doral resort — set among office parks near the Miami airport — has been in sharp decline in recent years, according to the Trump Organization’s own records. Its net operating income fell 69 percent from 2015 to 2017; a Trump Organization representative testified last year that the reason was Trump’s damaged brand.
Now, the G-7 summit will draw hundreds of diplomats, journalists and security personnel to the resort during one of its slowest months of the year, when Miami is hot and the hotel is often less than 40 percent full. It will also provide a worldwide spotlight for the club.
We’ve now reached the point where Trump’s kleptocracy is just out in the open. Any true believer in democratic norms would agree that the same ethical standards — not to mention laws — apply equally to everyone, regardless of their party. Democrats still believe this; there’s no way Democrats would stand for a president from their own party who used the office to line their own pockets. Nor would they stand for a president who used foreign policy as a cudgel to persuade other countries to open investigations into the president’s political rivals here in the U.S. Republicans’ continuing support for Trump is a rejection of democracy and the rule of law. It really is that simple.
Serious question: Shouldn’t the other G-7 nations refuse to attend? Attending — and spending their nation’s money at a Trump resort — will make them complicit in Trump’s kleptocracy. This is as much a violation of ethical norms — and the Constitution’s emoluments clause — as it would be if the summit were held at a neutral location but the other world leaders were expected to hand Trump envelopes stuffed with cash. Even if Trump were willing to foot the bill for the entire summit out of his own pocket — which, let’s face it, is not his style — it would still be grossly inappropriate and illegal on the grounds of the event’s significant promotional value alone.
Not quite as serious question: What happens if Trump is impeached (which is very likely) and removed from office before June? Do they still hold the summit at Doral? What a delightful problem that would be to have.
Chris Fox, writing for BBC News:
On Tuesday, BBC News tested the Face Unlock feature on the new Pixel 4. Using the default settings, the phone still unlocked if the user pretended to be asleep. The test was repeated on several people, with the same result.
It’s right there in Google’s own support document for the Pixel 4: “Your phone can also be unlocked by someone else if it’s held up to your face, even if your eyes are closed.”
Speaking before the launch, Pixel product manager Sherry Lin said: “They are actually only two face [authorisation] solutions that meet the bar for being super-secure. So, you know, for payments, that level — it’s ours and Apple’s.”
Sounds like it’s still only Apple’s, which is now in its third-generation of devices. Biometric authentication is an area where Apple has been, and remains, several years ahead of all its competitors.
BBC News:
After buying a £2.70 gel screen protector on eBay, Lisa Neilson registered her right thumbprint and then found her left thumbprint, which was not registered, could also unlock the phone.
She then asked her husband to try and both his thumbs also unlocked it. And when the screen protector was added to another relative’s phone, the same thing happened. […]
Samsung said it was “aware of the case of S10’s malfunctioning fingerprint recognition and will soon issue a software patch”.
When the iPhone 5S debuted with Touch ID, we were inundated with news stories about “easy” ways to spoof it that were, in fact, not easy at all.
Now we learn that Samsung’s flagship phone’s fingerprint sensor can in fact be spoofed trivially — and… crickets.
Joanna Stern, in her review of the Samsung Galaxy Fold:
The Fold’s hardware gets lots of attention, but its Android software tricks deserve some, too. Open an app on the small screen, unfold the phone, and the app automatically supersizes. (In some cases, I got a pop-up that the app needed to restart.) Samsung has also worked directly with Android app makers, including Instagram and Spotify, to refine the apps for the squarish tablet.
The sized-right-for-the-display version of Instagram caught my eye after watching Stern’s (outstanding) video review of the Fold. So Instagram is willing to update their Android app to adjust to the extraordinarily niche Galaxy Fold, but still hasn’t updated their iOS app to adjust to the extraordinarily popular and much-used iPad?
It makes no sense to me why Instagram doesn’t support the iPad natively. As far back as 2014 it seemed hard to believe that the best way to use Instagram on an iPad — an ideal device for scrolling through photos — was “still” the iPhone app in 2× mode. And yet here we are in 2019, with Instagram already supporting dark mode (nicely, too) but still without proper iPad support. At this point Instagram feels like the only reason iPadOS still lets you run iPhone-only apps. It boggles the mind.
What the hell is the deal with this?
My only plausible theories are (a) simple spite on Facebook’s part, a byproduct of their cold war with Apple; and/or (b) a belief that ads perform better on iPhone, where they can nearly fill the screen, and so withholding a proper iPad app is Facebook’s way of discouraging using Instagram anywhere but on your phone.
Seth Stevenson, writing for Slate:
Fiedel was at heart an improviser. To create the Terminator theme, he first set up a rhythm loop on one of the primitive, early-’80s devices he was using. (In those days, Fiedel was firing up a Prophet-10 and an Oberheim.) He recorded samples of himself whacking a frying pan to create the clanking sounds. Then he played melodic riffs on a synthesizer over the looped beat. Amid the throes of creation, what he hadn’t quite noticed—or hadn’t bothered to notice—was that his finger had been a split-second off when it pressed the button to establish that rhythm loop. Being an old machine, there was no autocorrection. Which meant the loop was in a profoundly herky-jerky time signature. Fiedel just went with it. The beat seemed to be falling forward, and he liked its propulsiveness. He recorded the score that way and (not being classically trained) never wrote down any notation. The music he’d improvised went straight into the film. With its collaboration between fallible humanity and rigid machinedom, the score was especially well-suited to the material at hand.
A great little story about a great and memorable score.