The trailers for HBO's DC Universe series Lanterns teased a show that eschewed the usual superhero hijinks in favor of a gritty realism more in the vein of True Detective or Slow Horses. Personally, I liked the change. My verdict: Ignore the review bombing; it's wonderful. The season wrapped with an emotionally charged, almost elegiac finale that fully delivered on that initial promise. I've found the rebooted DC Universe films released thus far to be enjoyable but rather forgettable, even when the positives outweigh the negatives. But Lanterns is a shining beacon of what is possible when someone is allowed to get really creative within the genre.

(Spoilers below, but no major reveals.)

There are two primary storylines. The first takes place in 2016 with a mass shooting at a local football game in Rushville, Nebraska. Current Green Lantern Hal Jordan (Kyle Chandler) and his new trainee, John Stewart (Aaron Pierre), get involved in the investigation, to the annoyance of Sheriff Kerry Kane (Kelly Macdonald), who initially doesn't think the case has any extraterrestrial connection. She is soon proved wrong when the suspect (an alien) self-detonates. Hal's power ring controls the damage, but the mystery remains.

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Over the past week, the laptop Microsoft sent me has been summarizing books and movies, generating images from my imagination, and running a 70-billion-parameter AI model that would be a stretch to fit on most laptops. It also played AAA games at a speed and fidelity I would have thought impossible on an ARM system just a year ago. Microsoft wants to sell you one computer for all of your needs, and for once that doesn't feel like total marketing fluff. Mostly.

Microsoft is throwing both arms around the new Nvidia RTX Spark platform with the Surface Laptop Ultra—and setting its sights on the would-be MacBook Pro buyer, or as the company called it, "a high performance audience." The bet is that rather than a gaming desktop for fun and a development laptop for work, buyers will pay more for one machine that does both.

The Surface Laptop Ultra arrives at a strange time in personal computing. Recent industry numbers showed a 20 percent drop in total PC shipments year over year in the third quarter of 2026. That's not just consumer purchasing either—that's across the board. Between the RAMpocalypse that has exploded consumer prices and an industry fixated on enterprise money, there hasn't been much new hardware to excite PC enthusiasts.

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Android was designed for phones, but that hasn't stopped Google from trying to adapt the OS and its apps to larger machines over the years. Googlebooks are just the latest attempt after tablets, Chromebooks, and foldables induced little change in how people interact with Android software. These new Android-powered laptops are designed to pick up where the web-focused ChromeOS left off, offering premium hardware and native support for Android apps.

Google sees Googlebooks as an alternative to Windows and macOS, but these platforms are entrenched with decades of software and UI conventions that keep users locked in. Googlebooks have to offer something very special to steal users away from either of the dominant operating systems.

For devoted Android phone users, there are some cool things in Googlebook OS, but the Android roots of these machines are impossible to miss. Sometimes it feels like using a Chromebook, and sometimes it feels like using a giant phone. It almost never feels like using a premium laptop, and that's the problem.

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Elon Musk is a very familiar figure to Ars readers, given his massive influence (for better and worse) on the technology sector over the last 20 years. Oscar-winning director Alex Gibney's latest biographical documentary—simply titled Musk—covers a lot of well-known ground and challenges the carefully crafted public image of Musk as a visionary tech titan.

Gibney's documentary presents Musk as more of a Gilded Age confidence man, rejiggered for the 21st century: an investor cosplaying as an inventor whose real genius is pumping stocks and dazzling investors and the public alike with visions of a high-tech utopian future. The film is bound to push all the right outrage buttons, whether one is a Musk fan or a detractor—which makes it very much a product of the peculiar social media-driven era in which we live.

Gibney has been making documentaries since the 1980s, covering such varied subjects as Jimi Hendrix, Hunter S. Thompson and gonzo journalism, WikiLeaks, Scientology, Steve Jobs, Elizabeth Holmes (the subject of another forthcoming documentary, You Can See Everything, featuring comedian Nathan Fielder), Boris Becker, The Sopranos creator David Chase, alleged Russian interference in the US 2016 presidential election, the opioid epidemic, and cyclist Lance Armstrong. He snagged his first Oscar nomination for 2005’s Enron: The Smartest Guys in the Room, and won the Oscar for Best Documentary Feature two years later for Taxi to the Dark Side.

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The Worst Fountain Pen I Have Ever Reviewed: In which youtuber Figboot on Pens spends fifteen minutes calmly and carefully reviewing a fountain pen that might not be capable of writing.

Posted three years ago, this video has nearly a million views, several times more than his interview with Neil deGrasse Tyson from almost ten years ago. This is the rare video where I suggest that, contrary to conventional wisdom, you should read the comments.

I found the trailer for Digger intriguing, starring a nearly unrecognizable Tom Cruise and giving off strong Dr. Strangelove vibes. Plus, it is four-time Oscar-winning director Alejandro G. Iñárritu’s (Birdman) first English-language film since 2015’s The Revenant. Those elements quickly moved it near the top of my "must-see" list even if details about the actual plot were lacking. Given Iñárritu’s pedigree, the film seemed poised to be prime Oscar bait.

(Major spoilers appear below the gallery. We'll give you a heads-up when we get there.)

By now it's clear that Digger is on track to be one of the biggest bombs of the year instead, racking up a mere $20 million globally its opening weekend, against a $125 million (possibly more) budget. It has sharply polarized critics and audiences alike, with some appreciating Iñárritu's bold, creative swings and others finding the film practically unwatchable.

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