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To humanity's relief, the Artemis II astronauts returned safely to Earth, splashing down in the Pacific ocean just off the California coast Friday evening. And it looked every bit as iconic as those Apollo splashdowns from the 1960s and 1970s.

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As thrilling as the splashdown was, equally thrilling was video of the crew module separating from the service module a half hour before the spacecraft returned.

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Celebrations broke out at the nearby Air and Space Museum in San Diego, where one space-loving child gave us what may be the most relatable raised fist since Success Kid.

Credit: Apu GOMES / AFP via Getty Images

Celebrations also broke out several hundred miles north at the Columbia Memorial Space Center in Downey, California — where the descent was a nerve-wracking reminder of the lost Space Shuttle that the center is named for.

Credit: Mario Tama/Getty Images

However, there followed a wait of more than an hour — longer than expected — while the crew awaited the inflation of a "front porch" that would allow them to be extracted by helicopter.

Credit: NASA screenshot

We'll update this post with photos of the crew emerging as soon as it happens.

The NASA spacecraft carrying the four astronauts of Artemis II — Commander Reid Wiseman, 50, pilot Victor Glover, 49, Christina Koch, 47, and Jeremy Hansen, 50 — splashed down as planned off the coast of San Diego, California at 5:07pm Pacific time, in perfect weather. 

The safe return of the crew module, known during descent as Integrity, followed a nerve-wracking set of maneuvers during the mission's final half hour. 

Integrity had to separate from its service module, reorient itself for a "raise burn" that assisted reentry, and then had to weather an expected communications blackout of exactly six minutes as it reentered Earth's atmosphere.

SEE ALSO: After splashdown, brutal obstacle course awaits the Artemis II crew

Finally, a series of hair-raising parachute deployments concluded with the reveal of three iconic red and white parachutes.

On reaching the Pacific, the crew were reported as "green" — meaning all OK — and balloons deployed to help keep it afloat while Integrity powered down. The only snag, apparently, was was a non-working satellite phone.  

The astronauts remained in good spirits throughout the process, and had plenty of time to look around on the way down — and back up again.  

"The moon looks smaller than it did yesterday," Commander Wiseman noted to mission control some 23 minutes before splashdown. 

"Guess we'll just have to go back, then," responded Artemis II Chief Training Officer Jacki Mahaffey.  

The successful trip, which in looping around the moon went further from Earth than any humans have ever gone, was intended to prepare the hardware and the flight controllers for a moon landing in 2028, the first in more than a half-century. 

NASA also aims to use the moon to practice keeping humans alive in another world for extended periods before going to Mars. The U.S. also has an interest in landing on the moon again before China, which is close to achieving its own first human moon landing. 

Watch splashdown below, starting at about the 1 hour, 35 minute mark:

Elisha Sauers contributed to this report.

Once upon a time, streaming was considered a cheap alternative to cable. Now, depending on the services you subscribe to, "cheap" is hardly the word.

So far in 2026, several apps have undergone price increases, to the point where it's hard to keep up. That's where we come in. Here are the major streaming services that have hiked up their prices in 2026 so far.

SEE ALSO: What's new to streaming this week? (April 10, 2026) Prime Video

In March, Amazon changed the pricing structure for Prime Video, downgrading its cheaper options and locking important features behind its premium tier. The basic cost of Amazon Prime is still $14.99 a month or $139 a year, but that tier now only has access to 1080p streams on Prime Video.

To see 4K Prime Video content, you now need to pony up an extra $4.99/mo for a new "Ultra" tier that also gets rid of ads. Prime Video Ultra also allows for more simultaneous streams and more downloads. But at a 33% premium to the regular price, is it worth it in this economy?

Paramount Plus

Back in January, Paramount Plus upped the prices of both its available tiers by an additional $1 per month.

The cheaper, ad-supported Essential tier is now $9 monthly or $90 annually (up from $60), while the ad-free Premium tier is now $14 monthly or $140 annually (up from $120).

Crunchyroll

Anime fans are not immune to price hikes, either. Crunchyroll, the biggest name in anime streaming, increased its prices in February. The cheapest Fan tier went from $7.99 to $9.99 per month, the middle Mega Fan tier went from $11.99 to $13.99, and the Ultimate Fan tier went from $15.99 to $17.99.

This was the service's first real price hike in years, and it didn't come without some perks: Users can now download content to watch offline, for one thing. Sadly, the free, ad-supported Crunchyroll tier was killed earlier this year — so if you want to watch the best in anime, you'll probably have to pay.

Spotify

Spotify increased the price of its Premium plan from $11.99 to $12.99 per month in February. The cheaper Student plan went from $5.99 to $6.99. Duo and Family plan users saw $2 hikes. The former went from $16.99 to $18.99 per month, while the latter jumped from $19.99 to $21.99.

Sling TV

Sling TV is the only service on this list that was explicitly supposed to replace cable. Unfortunately, it also became the victim of a price hike earlier this year. There are too many tiers and permutations of Sling to list here, but the TL;DR is that prices went up by $4 per month for many users.

YouTube Premium

Last but not least is YouTube Premium, lowkey one of the better investments you can make if you really, truly hate ads on YouTube. This service got a $2 a month price increase, going fro $13.99 to $15.99 in April.

Sadly, there don't seem to be any extra perks to go along with this price increase.

Many of us can't go anywhere without our smartphones, and neither do the astronauts aboard the Orion spacecraft.

The historic Artemis II mission sent four brave astronauts 248,655 miles away from Earth, a historic record — and the iPhone 17 Pro Max went with them. The Orion spacecraft, dubbed Integrity by its crew, is a marvel of engineering, but it's also home to some familiar terrestrial technology.

Commander Reid Wiseman, Pilot Victor Glover, Mission Specialist Christina Koch, and Mission Specialist Jeremy Hansen brought all sorts of quirky items along with them to space (including at least one jar of Nutella). In addition to iPhones, the Artemis II crew is traveling with consumer gadgets from GoPro, Nikon, and Microsoft, all of which serve practical purposes aboard Orion.

The astronauts have been using the latest Apple flagship smartphone, the iPhone 17 Pro Max, to document life aboard Orion. They've sent back some unforgettable selfies with these smartphones.

NASA astronaut and Artemis II mission specialist Christina Koch peers out of one of the Orion spacecraft's main cabin windows Credit: NASA

In addition, the astronauts have been using two Nikon D5 DSLR camera bodies, along with a variety of lenses, batteries, and camera accessories. Taking photographs of the lunar surface was one of the most important scientific objectives of the Artemis II mission, and the Nikon cameras have been essential for that task. (We've been marveling over the photographs all week long.)

Artemis II Pilot Victor Glover, Commander Reid Wiseman, and Mission Specialist Jeremy Hansen configure their camera equipment. Credit: NASA

In addition, each of the astronauts is using a personal computing device, or a PCD. For this mission, the astronauts are using Microsoft Surface Pro tablets, for both important scientific work as well as more mundane tasks, like checking their email.

Finally, a variety of GoPro cameras are in use, both within the Orion cabin and on the exterior of the craft.

NASA documents state that the astronauts are using handheld GoPro action cameras to record the mission, and the footage will eventually appear in a Disney/NatGeo documentary.

In addition, specialized GoPro cameras have been installed on Orion's solar arrays.

A GoPro representative told Mashable that Artemis II astronauts are using HERO11 Black action cameras and a MAX1 360-degree camera onboard Orion. Outside the cabin, NASA placed modified HERO4 Black cameras on the solar arrays.

GoPro cameras have a reputation for durability, but these conditions are particularly extreme.

The Orion crew is scheduled to return to Earth on April 10, and the world has been following every step of the mission with bated breath.

Godspeed, Artemis II!

"Fetch" is never going to happen. But "moon joy" just might.

NASA began using the phrase "moon joy" all over its social media accounts as the Artemis II crew approached the moon this week. Now the agency has gone all in with a definition on the official NASA account on X, along with the ideal photo — its lunar adventurers looking adorably like the first fourple in space — leading into a video of moon joy moments.

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"The feeling of intense happiness and excitement that only comes from a mission to the moon" is how NASA defines moon joy (which sounds to us like it should be one word, but we'll wait for an official ruling from the AP Stylebook).

The phrase has been used several times throughout the Artemis II mission. The first use NASA posted was on Sunday, April 5: a clip of the mission control communicator calmly replying to a litany of excited identification of lunar locations from astronaut Reid Wiseman aboard Orion.

"Copy," mission control says with a chuckle. "Moon joy."

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One commenter on X called the phrase "the most perfectly understated response to astronauts losing their minds over seeing the moon up close for the first time." (Which calls to mind this classic 1969 moon landing story from the Onion — featuring a mission control transcript that seems closer to how the Apollo team would have expressed its moon joy if they hadn't been so professionally understated.)

NASA knew a good meme when it saw one. When the astronauts were woken up on Monday, mission control told them, "Our room is buzzing with moon joy." When the Artemis II astronauts viewed a solar eclipse that same day, it also qualified as moon joy — because the eclipse was one only they could see.

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Moon joy is infectious, it turns out — even reaching the astronauts aboard the International Space Station, according to a live NASA broadcast of a ship-to-ship call between Orion and the ISS.

"We can tell that you guys are definitely experiencing moon joy," Jessica Meir, commander of the ISS Crew-12 mission, told the Artemis II crew, "and I feel like even we are experiencing moon joy right now."

The ISS's moon joy manifested, according to Meir, in a particularly nerdy jape.

At the moment Orion set the new record for the farthest distance humans have ever traveled from Earth on Monday, her crew went to the far end of the station to claim that they were the farthest humans away from them at that moment — presumably since the ISS happened to be on the opposite side of the Earth at the time.

Even Rise, the official Artemis II mission mascot, got in on the moon joy meme on Wednesday, turning in the perfect made-for-Hollywood cute character catchphrase.

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Of course, NASA couldn't make moon joy happen all on its own. Luckily, back on Earth, moon joy is already a thing — because ironically, and unlike fetch in Mean Girls, it's not happening in a vacuum.

We noted the unusually unified, unabashedly earnest reactions to last week's Artemis II launch. That sense of wonder and delight has only grown, and #moonjoy has become the positive hashtag for an otherwise uniformly terrible year.

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How long moon joy lasts, and whether it stays with us for NASA's planned moon landing in 2028, is anyone's guess. But this week at least, it was a real and global thing — and that is, in itself, pretty fetch.

Elisha Sauers contributed to this report.

BookTokers, Bookstagramers, and the most passionate Kindle users across the internet are fuming this week. On April 7, Amazon notified affected users that the company would be discontinuing support on 13 devices, including nine Kindle e-readers.

Amazon already faces plenty of backlash in the book world. Last year, Amazon launched a massive book sale, which coincided with Independent Bookstore Day. This most recent news has left some Kindle users with a bad taste in their mouth, and now some readers are asking, "Should I switch to a Kobo?"

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While Kindle is the biggest name in e-readers, Kobos are climbing the ranks.

We've tried and loved both the Kobo Clara and Kobo Libra, and the devices are just as great as any Kindle. Kobo e-readers have features that Amazon abandoned in its Kindles, like page-turning buttons, plus seamless Libby integration. But if the decision to switch to a Kobo is driven out of worries that your current Kindle will eventually get bricked too, then a Kobo won't solve this problem.

Older tech being phased out is an unfortunate reality of our modern era. Unlike a Kitchenaid mixer, which doesn't require software updates to stay functional, a phone, computer, tablet, or e-reader always will. Unfortunately, with such frequent product releases, we're accustomed to a system of planned obsolescence. So, it feels revolutionary when Google announces a plan for automatic updates that makes Chromebooks last up to a decade.

And to be fair, it's impressive that Amazon devices that are at least 14 years old are still kicking it, which is a testament to the device's longevity. However, it's understandable if you want to switch to a Kobo. But our word of caution is to switch for the right reasons because it's highly probable Kobo e-readers will face the same bricked fate.

Why you shouldn't switch to a Kobo from a Kindle

If you want to switch to a Kobo from a Kindle because you think it won't be discontinued, I have bad news. Kobo also has a history of retiring devices and no longer supporting them with software updates. On the company's website, they have a list of products, including e-readers, that it no longer supports.

This is just the fate of any device requiring regular software updates.

Companies are also incentivized to do this because it means pushing users to buy a new device, even if it frustrates the customer. And let's clear up one misconception. While Kindles and Kobos are no longer supported with software updates, these past-gen devices can still run. (Our colleagues at PCMag have advice for holding onto older Kindles.) It may mean they can no longer access the internet; however, users should still have access to the library of books currently on the device, and they can add books by connecting it to a computer.

Something else to keep in mind with switching to a Kobo is that you won't be able to transfer over your library. Both Kindle and Kobo use DRM on books purchased in their respective stores, which means you can only read those files on that specific brand of e-reader. However, you can still revisit those books through the Kindle app. Some users even recommend buying a used Kindle if you do want to stick with the brand.

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So, if you are making a pros and cons list, there are still plenty more reasons why you should switch to a Kobo.

Why you should switch to a Kobo from a Kindle Kindle Scribe (left) and Kobo Libra Colour (right). Credit: Samantha Mangino / Mashable

There are plenty of reasons to shop for a Kobo. Across the board, Kobo e-readers are just as speedy and user-friendly as any Kindle. They have an accessible user interface, but there are some slight differences, like how Kobo numbers their pages based on digital pages while Kindle numbers are based on the physical book.

Unless your Kindle library is entirely full of DRM-free EPUB files, you won't be able to access any book you've purchased in the Kindle library on your new Kobo e-reader. But if you can get over that, then there's plenty to look forward to with a Kobo.

Page-turning buttons

Older Kindle models have a coveted feature that the newest models don't: page-turning buttons. With models like the Kindle 5 no longer being supported and the Kindle Oasis discontinued, users don't have no longer have a new Kindle option to shop that includes page-turning buttons.

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If you want those buttons, look to the Kobo Libra Colour, which has two page-turning buttons on the side so you don't need to tap the touch screen. Those buttons also mean there's extra space to hold the device, for a really comfortable hold. The Kobo Libra Colour also has something that no Kindle does, an internal gyroscope, which means you can rotate the device to hold it with the opposite hand and the screen will automatically rotate.

A native remote With just two buttons, the Kobo remote lets you turn the page forward and backward. Credit: Samantha Mangino / Mashable

For readers maximizing their reading nook with an e-reader stand, a remote makes it easy to turn the pages while keeping your hands warm under the blanket. Kobo is the first e-reader brand to come out with a remote to pair with their e-readers.

We've tested the Kobo remote, and it rocks, connecting via Bluetooth, and it's far better than any random remote you can find on Amazon to go with a Kindle.

Libby integration

Libby users with a Kindle will rejoice at an even more straightforward integration on Kobo e-readers. On a Kobo, you can login to your library card directly on your device and books you borrow through Libby/Overdrive automatically populate onto your device. The downside is that if you have multiple library cards you use on Libby, you can only log into one at a time on a Kobo e-reader.

Color at a cheaper price

Kindle has its own color e-readers, but Kobos are much cheaper.

The basic Kindle Colorsoft costs $199.99 while the comparable Kobo Clara Colour is just $159.99, which happens to be the same price as the Kindle Paperwhite. So if you're looking to upgrade to a color e-reader anyway, it's far more affordable to do so with a Kobo.

Apple is closing the doors on three retail locations in June, including the first store to win a unionized staff.

The employees of the Apple store in Towson, Maryland, north of Baltimore, voted to unionize with the International Association of Machinists & Aerospace Workers (IAM) in 2022. The union is organized with the Coalition of Organized Retail Employees (CORE).

SEE ALSO: What AI can tell you about your blood test

A second Apple store in Oklahoma City voted to unionize shortly after Townson's historic action. Despite the forward momentum, other Apple unionization efforts have petered out under mounting pressure from the company, CNBC reports.

Towson employees were notified of the closure in a Thursday morning staff call. The group ratified its first contract with Apple in 2024, set to expire in 2027. According to union representatives, Apple has said they are prevented from relocating employees under the union's Collective Bargaining Agreement (CBA), but encouraged them to apply for other open positions. Apple employees at the two other locations set to close — Apple North County, in Escondido, California, and Apple Trumbull in Trumbull, Connecticut — will be moved to nearby stores.

IAM said Apple's claims about its inability to relocate employees at the Maryland store are false, and alleges the closure is "a cynical attempt to bust the union."

Apple says "declining conditions" in local shopping corridors, including the departure of retailers from the Townson Town Center mall, and a shift away from mall locations, prompted the closures.

In a statement following the announcement, IAM representatives wrote: "The IAM Union is outraged by Apple's decision to close its Towson, Md., store — the first unionized U.S. Apple retail location — and abandon both its workers and a community that relies on it for critical services and its unique access to public transit."

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Apple workers and union across the country have been organizing a movement to unionize retail staff, including salespeople and Genius bar staff, for several years.

About half of young people ages 14-29 are now using artificial intelligence every day or week, and yet just 15 percent of them see AI as a net positive for society. And you don't have to go far in the tech world to encounter AI doomers warning about the dire risks of AI run amok.

Indeed, such doom and gloom can be hard to avoid when the headlines constantly remind us that our world is heating up, drying up, and blowing up. And that's what makes the new Focus Features documentary, The AI Doc: Or How I Became an Apocaloptimist, such a head-scratcher. The movie is a call to action, not just to regulate artificial intelligence so it can be harnessed for good, but a call to arms for optimists (and aspiring optimists like myself).

The AI Doc was produced by Everything Everywhere All At Once co-director Daniel Kwan and directed by filmmakers Daniel Roher and Charlie Tyrell. Roher, who won the Oscar for his 2022 documentary Navalny, is the emotional anchor of the movie, and he urged me to resist the siren call of cynicism around AI.

"[Cynicism] is, frankly, easy," he said. "Very, very easy. And it's kind of like the low-hanging knee-jerk reaction to something. You'll realize that it’s actually the only wrong answer to this."

SEE ALSO: Review: 'The AI Doc: Or How I Became an Apocaloptimist' is a panic attack, in a good way

In the documentary, the Oscar-winning director learns that his wife is pregnant just as he begins a good and proper AI doom spiral. So, he takes us along for the ride as he explores the dangers of AI, both real and imagined. He even talks to the "final bosses" of the AI problem — the handful of men sitting atop the AI industry — OpenAI's Sam Altman (or is it Sam Altman’s OpenAI?), Google DeepMind's Demis Hassabis, and Anthropic's Dario Amodei.

Roher spoke with me by phone after the movie's release, where he confronted me about my own cynicism around artificial intelligence. We also talked about how AI is being used in Hollywood, the ongoing copyright battles between artists, filmmakers, and the AI industry, and whether AGI is really as imminent as it seems.

As a tech editor, I get whiplash covering AI. I talk to tech people, who talk about AI like it's the greatest thing in the world — it’s going to solve all our problems and change the world. And then I talk to artists and reporters, who tell me it's a scam, it's just destroying the [environment]. Have you experienced the same thing as a creative who talks to a lot of tech people?

Daniel Roher: I think that's a good way to articulate it. If you talk to one set of people, and they tell you one thing, and then talk to another set of people, and they tell you the polar opposite. And the particularly complicated component is that both people are incredibly intelligent and thoughtful and well read and well researched, and so it's sort of like looking at two truths at the same time and trying to decipher it and figure out how to reconcile that reality.

I imagine one tough thing about making an AI documentary is the pace of change in this space. For the first time, we're really seeing AI used in a war capacity. I'm just curious how your thinking has evolved since the movie wrapped?

I'm just becoming more and more concerned. Obviously, the documentary is about how scared I was, and I think now, as I'm seeing some of the [dangers] discussed in the documentary [happen]...like AI being used in conflicts. It's just very concerning and very scary. 

And you've seen red lines drawn in the sand by some companies, while others blow through them. I'm particularly speaking to Anthropic and the very reasonable red lines that they drew down with the Pentagon and what was comfortable for them, gaining the public support of most people in the world, including Sam Altman and OpenAI, only to be then designated a supply chain risk and have Sam Altman swoop in and and, you know, make his own deal with the Pentagon. 

But Sam Altman is someone who has a sort of air of someone who came out of the womb wearing his turtleneck and running shoes ready to give his keynote address at Davos...I found him to be just media-trained up the wazoo. Not a particularly genuine person. - Daniel Roher, Director

That type of, I don't know if you want to call it bad faith dealing, is pretty Machiavellian, and it's scary.

Yeah, and it kind of lines up with Sam Altman's reputation. His reputation is a bit Machiavellian. There have been accusations, I know, by former employees and board members that he's... I've heard the word "two-faced." What was your impression of Altman? Did it seem like he had a good grasp of the seriousness of the risks here?

I guess, although if he really did, I think he'd be doing more to work with his colleagues to try and create safety precautions and common-sense safety measures, which he's not doing. So perhaps not. 

SEE ALSO: Trump orders Pentagon to stop using 'woke' Anthropic in fiery Truth social post

But Sam Altman is someone who has a sort of air of someone who came out of the womb wearing his turtleneck and running shoes, ready to give his keynote address at Davos. Like, that's his energy, which is a vibe, you know? I would say that he and I didn't hit it off. Before that, I found him to be just media-trained up the wazoo. Not a particularly genuine person.

Co-director Daniel Roher appears in 'The AI Doc: Or How I Became an Apocaloptimist.' Credit: Focus Features

The documentary did a really good job of laying out how, basically, our entire global economy is being rearranged around this arms race for AGI. All the biggest tech players in the world, the financial powers, they're all pouring resources into this race to be the first one to achieve AGI. And I guess one of the questions I have is, what happens if AGI isn't possible? What if AGI turns out to be a mirage? 

Well, how do you define AGI?

I would say, AI that's capable of replacing the average worker. Smart enough that it can do the average laptop job, the average manufacturing job, pretty much out of the box. 

By that metric, we have already achieved AGI. No debate.

I mean, I'm only going by the box you draw on the floor, and based on your explanation, certainly we've achieved AGI. Certainly, AI can write your article, and certainly AI can interview me, and certainly AI can write a movie, and certainly AI can drive a truck. It's just a question of the bureaucracies of our world being slow to incorporate these systems. But I think, by your definition, we have reached it. And anyone who says that it's not possible, or that this will plateau, that has not been my experience, just observing reality around me.

I don't know that it's quite all the way there. I think it still needs quite a bit of babysitting, from what I've seen. But maybe that's a bit of denialism on my part. 

For me, artificial general intelligence is an AI system that can do a wide variety of tasks at a level superior to that of an individual. So that is not limited to just, you know, coding or writing an essay. Anything, it can do better than you, not just one category. That's what I understand AGI to be. 

SEE ALSO: 'The AI Doc' producer Daniel Kwan on the future and threat of artificial intelligence

Without some sort of consensus on what we're talking about, it's hard to focus the discussion. And that's just a challenge with this, and how fast it's moving, and the fact that there are no clearly defined goalposts of what we're even talking about.

As you've gotten further into fatherhood, have your feelings on AI changed?

I would have typically described myself as quite a cynical, perhaps a denialistic person. I would have, you know, five years ago, said, "Oh yeah, this is gonna be terrible. There's nothing we can do in the face of this." And I don't feel that way now. I feel like the worst thing you can do is be cynical. And I think my perspective, geared towards optimism and collective action, is framed through the lens of fatherhood. It's irresponsible to be a parent and to be nihilistic or cynical, and that's why I really try and focus on what we can do, what I can do, and what you can do, what we can all do.

What are one or two things someone can do if they’re worried about AI?

Educate yourself. Use the software. Understand what they're capable of. Think critically about what you want to use these for, [and] what you don't want to use them for. That's really, really, really important. 

And then the other thing is to evaluate what we call your sphere of influence. If you're a single mom, if you're a truck driver, if you're a teacher, if you're a dog walker, if you're a filmmaker, or a politician or so on and so forth, you have power in your life, some smaller than others, but you have power nonetheless, even if it's just calling someone and talking to them about this, telling them what you've learned and how you're feeling about it, trying to explain to someone the value of collective action and being a a participant in finding a solution here. Because it'll take all of us. 

Five, 10 years ago, that would have sounded like corny, [politically correct] woo-woo, Kumbaya bullshit to me, but there is no other choice. 

So I very much believe in the power of collective action. And then there are basic political pressures that we can do. What political party, what candidates are on the right side of this issue, who is advocating for common sense, regulations, and guardrails to ensure that this technology doesn't consume us, but we still have power over our own future?

Those are a few things that might not seem satisfying to people, but it's not as easy as, like, change your light bulbs, you know, drive your car less, take the train instead of flying. It's more challenging.

[For] the tech CEO to be like, you know, "Fuck you, I will come for your shit." My response is, "Fuck you back. No, you're not." And I applaud the media outlets like the New York Times who are standing up for their material and doing the very, very good public work of fighting companies in the courts. - Daniel Roher, Director

Among many artists and many progressive people in general, there's a real intense resistance to using AI or to allowing AI to become normalized. For example, whenever we hear about AI being used in the process of making a video game, there are calls to boycott that game. Are you seeing that among other filmmakers or artists as well?

Yeah, sure, and that's their prerogative. This shit is fucking scary. I get it. I get why people are freaked out, why they don't want to use it, and why they want to boycott. But it's also the plain reality that it's here and it's not going anywhere. 

And so what I'm more interested in is figuring out how we can be creative beings alongside this thing, right? And what do I do that this thing cannot do, because I believe that my unique lived experience on Earth is just a different category of existence than this obtuse, oblique computer God thing that we're building that is just trained off of all of our regurgitated knowledge and stuff. I believe my lived experience is unique. That's the biggest thing. 

And then beyond that, I'm also very mindful of when it comes to using AI to create art — how is this empowering me versus how is it replacing me? And if it's empowering me in a meaningful way, then I'm like, "Cool, great." If it's going to replace me, I'm like, "No thank you." And it's also the paradox, and the reality is that the same thing that empowers me can also replace me, and that's why it takes all of us to sort of stand up and say, "You know what? We don't want to use it for this. I don't want to play a video game that was made by an AI, or I don't want to watch a film that was shot out by a computer. No, thank you. I appreciate the artist's hand."

Maybe that's naive, but that's just my opinion, as someone who is an artist who makes stuff as my vocation and reason for existing.

I've found some people take a very, very hard line that if there’s any involvement of AI, I won't engage with it at all. And I wonder sometimes if those people are kind of alienating themselves from the larger conversations that need to happen.

I don't disregard that position. I understand why people feel that way. My position is, this is fucking terrifying. Like, this is actually really scary. And I know most of my creative friends who have had the experience of using Sora or looking at ChatGPT and being like, "Oh, look, the thing that I've been training my whole life to do no longer has any value. So what the fuck do I do with that?" That, in and of itself, is scary, and it seems like a very natural reaction for people to be like, "No, fuck that. No, thank you. Not for me."

You know, is that healthy in the grand scheme? Probably not. But as I said earlier, my position is that this isn't going anywhere, and it's just a question of how we can coexist and co-evolve with this technology in a way that is empowering and not depleting.

I also wanted to quickly ask about the copyright issue. I interviewed the CEO of a major AI video company, Luma AI, and he basically said, anything we train on is [fair use]. You know, we're going to train on whatever we want. But if the output looks like copyrighted, protected material, that's a problem, and that's where we draw the line. 

Do you get a sense that that's kind of a losing battle, that ultimately AI companies are going to do what they want?

The guy who has a financial vested interest is saying that he's gonna train his model on what the fuck he wants? It's kind of like the guy who runs the tobacco company saying that, you know, smoking is good for you. Everyone should have a cigarette, and if you say differently, fuck you. And to that, I'm like, "Dude, go fuck yourself." Language like “the battle's already been lost”? And it's like, dude, relax. The battle hasn't already been lost. 

This is just a unique challenge of 25th-century technology that's crash-landed into the 21st century, being regulated by legislative processes forged in the 17-fucking-hundreds. And court cases take a long time, but I think, at the end of the day, the book is still very much open on whether the IP battle has been won or lost.

So, yeah, for the tech CEO to be like, you know, "Fuck you, I will come for your shit." My response is, "Fuck you back. No, you're not." And I applaud media outlets like the New York Times, which are standing up for their material and doing the very, very good public work of fighting companies in court. And this is what I'm talking about, as a collective action. There has been a tangible pushback against the overreach of these AI companies. I feel it. I sense it in the ether. People are scared. People are pushing back. People are saying, "No, thank you," and I'm inspired by that.

[Disclosure: Ziff Davis, Mashable's parent company, in April 2025 filed a lawsuit against OpenAI, alleging it infringed Ziff Davis copyrights in training and operating its AI systems.]

I think that speaks to the doomer in me. I have the skeptic, the cynicism, in myself as well. 

I don't know what your life is like, but I hope for you that you get to experience having kids, because it rocks, it's just so fun. And maybe you're not a person who wants to do that in your life, and that's fine, too. But I hope that your main character arc is that, one day, you have a family and you understand viscerally that the cynicism you're speaking to is, frankly, easy. Very, very easy. And it's kind of like the low-hanging knee-jerk reaction to something. You'll realize that it’s actually the only wrong answer to this.

Visit The AI Doc Get Involved website for more information. You can catch The AI Doc: Or How I Became an Apocaloptimist in theaters now.

Some of the quotes in this story have been lightly edited for clarity and grammar.

After 10 days circling the Earth, the moon, and breaking records in deep space, the Artemis II crew is about to make one final, fiery plunge back to Earth.

This four-person crew made history on April 6, when Orion reached 248,655 miles from Earth, the farthest any human has ever traveled in space, surpassing Apollo 13's record. Now, U.S. Navy teams stationed near San Diego are ready to bring them safely home.

If you don't want to miss the Artemis II return, then tune in to the NASA livestream on Friday. That's when Commander Reid Wiseman, pilot Victor Glover, mission specialist Christina Koch, and Canadian Space Agency astronaut Jeremy Hansen are expected to splash down in the Pacific Ocean off the coast of San Diego at approximately 5:07 p.m. PT (8:07 p.m. ET).

You have tons of options for watching the livestream, and even streamers like Prime Video and Netflix are getting in on the action. However, YouTube is probably your best bet.

When to start watching

NASA+ coverage kicks off at 3:30 p.m. PT, about 90 minutes before splashdown. But the action really heats up, literally, around 4:53 p.m. PT, when the Orion spacecraft hits entry interface, and the capsule begins its scorching journey through Earth's atmosphere, where it will reach roughly 3,000 degrees Fahrenheit.

After the Artemis II recovery, NASA will hold a post-splashdown news conference at 7:30 p.m. PT at Johnson Space Center.

How to watch Artemis II reentry

You can stream the Artemis II return free on NASA+ at plus.nasa.gov or on NASA's YouTube channel. NASA has also been providing continuous coverage of Artemis II throughout the 10-day mission, including real-time commentary. A separate livestream of the splashdown will start up at 3:30 p.m. PT (6:30 p.m. ET).

More ways to watch live

If you'd rather watch the conclusion of the mission live on your TV without downloading any new apps, several streaming services you probably already have will be livestreaming the landing.

Prime Video, as well as Netflix, Peacock, HBO Max, and Apple TV will all host the NASA stream on their platforms, beginning at 3:30 p.m. PT.

Want more science and tech news delivered straight to your inbox? Sign up for Mashable's Light Speed newsletter today.

So, you missed out on tickets to see BTS's long-awaited return. It sucks.

The ARIRANG world tour, the Bangtan Boys' first tour together in four years, will hit 34 cities across the world, starting with Goyang, Korea on April 9 — and at this point, almost every one of the 82 shows with tickets on sale is either sold out or on last seats. But there's good news, ARMY!

SEE ALSO: Milk, tears, and Digimon: BTS' 'Hot Ones' episode was pure chaos

BTS will be livestreaming two of their concerts in cinemas. Here's everything you need to know about the BTS World Tour Arirang Live Viewing.

When is the BTS World Tour Arirang Live Viewing?

Over two Saturdays, April 11 and 18, BTS will bring their ARIRANG world tour concerts to movie theaters.

It's a collab between HYBE, BigHit Music, and Trafalgar Releasing, who did the same thing with Taylor Swift: The Eras Tour. All seven members of BTS — RM, Jin, SUGA, j-hope, Jimin, V, and Jung Kook — will perform songs from BTS's fifth studio album, ARIRANG, as well as that colossal BTS catalogue.

Times will vary across time zones, so check the official website for your session times.

How to watch the BTS World Tour Arirang Live Viewing

Tickets for the BTS World Tour Arirang Live Viewing are available from the official website and ticket sellers such as Fandango.

Just find your nearest cinemas by filtering locations and pick your time slot. Prices will vary across countries.

Wait, didn't BTS already do a livestreamed concert?

They sure did, but that was a special event for Netflix marking the band's first performance together in four years. That was also when poor RM injured his ankle during rehearsal and performed seated or behind the slickest mic I've ever seen.

BTS The Comeback Live: Arirang is now streaming on Netflix, so if you've got a Netflix account, you can watch the set from Gwanghwamun, outside Seoul's Gyeongbokgung Palace, which includes BTS's first-ever live performances of songs from Arirang.

Opens in a new window Credit: BTS Attend BTS World Tour Arirang Live Viewing   Learn More

For years, the Signal messaging app has been a favorite for privacy-minded folks. However, it's not perfect.

404 Media reported this week that the FBI was able to read a suspect's Signal messages, which should not normally be possible. Signal messages are end-to-end encrypted, meaning only the sender and receiver should be able to read them. They also disappear over time, so as not to leave a trace. In this case, the user had also deleted the app off of their phone.

SEE ALSO: FBI says it's investigating Signal. Should users worry?

So, how did the FBI see the messages? By reportedly extracting them from an iPhone's push notification database, of course. If messages are displayed in a push notification, that technically skirts the whole encryption problem, making it possible for a third party to read them. This is true of any app with push notifications, not just Signal.

Thankfully, per our friends at Lifehacker, there's an easy way to get around this.

Credit: Mashable / Signal screenshots

Signal has an internal setting that can be accessed in the app's Settings menu (tap your profile picture in the top left corner). Tap the "Notification" section, then "Notification Content." Then, choose "No Name or Content" to make it so push notifications do not show any specific information about messages you've received.

You'll still get a notification, but you'll have to actually open the app to see what the message said, and the FBI won't be able to take advantage of that loophole anymore.

That seems like something that should maybe be on by default, to be honest.

Featured Video For You Moltbook's real risk isn't AI. It's your data

Samsung's next bundle of foldable devices may have just gotten a launch date.

A new report by the Korea Economic Times (via 9to5google) claims that Samsung will hold its next Galaxy Unpacked event in London on July 22.

Galaxy Unpacked is Samsung's regular series of product announcement livestreams, usually devoted to flagship mobile devices. There's usually a Galaxy Unpacked event early in the year and another in the summer; the early one happened in February, and now it seems the later one will happen near the end of July, if this report is correct.

As for which devices will make their debut in July, expect a lot of foldables.

Korea Economic Times reports that Samsung will launch a follow-up to last year's excellent Galaxy Z Fold 7 (most likely called Galaxy Z Fold 8), as well as a new, persistently rumored "Wide Fold" that could compete with the still-unannounced iPhone Fold. While this report didn't mention the Z Flip line, it would be a major surprise if the company doesn't release a Galazy Z Flip 8, too. Samsung has also launched Galaxy Watch models during summer Unpacked events, so keep an eye out for those, too.

SEE ALSO: Samsung Galaxy Z TriFold is getting a restock April 10. How to get yours before it's gone.

One other potentially interesting nugget: Samsung will apparently showcase S Pen support for at least one of these new devices, though it's not entirely clear which one, based on the report. It would obviously make sense for the Wide Fold, given the theoretically larger size of the inner display, but we'll have to wait and see.

While the tech world waits with bated breath for the iPhone Fold, it's worth noting that Samsung's foldables have become truly high-quality devices in recent years. The Galaxy Z Fold 7, in particular, is still probably the best foldable you can buy right now, in part thanks to its impressively thin form factor. Hopefully, Samsung can keep up that momentum in 2026 for Android users.

SAVE $302: As of April 10, the Hisense 55-inch Canvas QLED 4K TV is down to only $697.99 at Amazon. That's a savings of 30% or over $300. If you prefer not to shop at Amazon, it's also on sale for $699.99 at Best Buy.

Opens in a new window Credit: Hisense Hisense 55-inch Canvas S7N QLED 4K TV $697.99 at Amazon
$999.99 Save $302   Get Deal

If you have Samsung The Frame TV taste, but not quite a Frame TV budget, Hisense's Canvas TV is an excellent alternative. Like The Frame, it turns a basic black box into stylish artwork that hangs on your wall. But instead of paying over $1,000, you can add it to your cart for under $700.

As of April 10, the 55-inch version of the Hisense Canvas TV is down to just $697.99 at Amazon for a savings of 30% or $302. While that's not quite its best price ever, it's still a pretty significant discount we think is worth grabbing. If you're anti-Amazon, you can grab the same TV at Best Buy for just $2 more.

The Canvas TV blends seamlessly into a gallery wall with other non-tech wall hangings, thanks to its matte finish and its ultra-slim wall mount that lies flush for a true framed art look. As a QLED model with real-time adaptive brightness and color temperature, it's also just a bright and brilliant looking TV, no matter what lighting conditions you're working with.

It features a variable refresh rate up to 144Hz, which is surprisingly good for smooth and tear-free gaming, as well as live sports. And unlike The Frame, it uses Google TV's interface, which Mashable's Miller Kern (a satisfied Canvas TV owner) says is much more intuitive and responsive than the Samsung interface.

If you hate the look of a clunky black box in your living room, the Canvas TV offers an aesthetic upgrade. And if you act fast, you can make the change without overpaying.

SAVE 30% OFF: As of April 10, get the video game 'Exit 8' for just $2.79 on Steam. That takes 30% off its $3.99 list price, saving you $1.20. This deal comes just in time for the game's movie adaptation release.

Opens in a new window Credit: Kotake Create 'Exit 8' $2.79 at Steam
$3.99 Save $1.20   Get Deal

Even if you're not a gamer, you've probably consumed a video game one way or another. Video games adaptations like The Last of Us, Five Nights at Freddy's, and The Super Mario Galaxy Movie are all the rage, but even indie games are being adapted too. The latest is Exit 8, made by Kotake Create, now adapted into a feature film, and it's out today, April 10.

The single-player walking simulation traps players in an endless underground passageway as you try and make your way to the elusive Exit 8. Players are only given the instructions: "Don't overlook any anomalies. If you find anomalies, turn back immediately. If you don't find anomalies, do not turn back. To go out from Exit 8."

Mashable's Shannon Connellan reviewed Exit 8 calling it, "At once a masterpiece of game-to-film adaptation, an elegant, nail-biting horror-thriller, and a technical cinematic marvel." However, if you want to play the game before you see the movie (maybe it'll give you a leg up on the jump scares) there's a limited time deal to check out.

As of April 10, Exit 8 is just $2.79 on Steam. That saves you 30% off its already affordable $3.99 price tag — way cheaper than a movie ticket. The game itself is a quick play through with Steam estimating total playtime is between 15 and 60 minutes. That means in no time, you'll be ready to head to the theater to catch the film adaptation.

SpaceX's Starlink might get cheaper and faster thanks to a set of new rules, but not everyone is happy about them.

On Apr. 30, the Federal Communications Commission (FCC) is voting on an order (via PCMag) that will change how older, geostationary satellite systems share radio spectrum with low-Earth orbit constellations (such as Starlink).

SEE ALSO: SpaceX may be going public with a big fundraising target

Per current rules, the amount of energy satellite systems can transmit to and from ground equipment is pretty limited for low-Earth orbit systems, in order to protect the higher-orbiting systems. But the new proposal will loosen these rules and let the operators of various satellite systems reach private agreements on how they share radio spectrum.

This would enable Starlink and similar systems to use more satellites in a geographic area, resulting in faster internet speeds there. Conversely, an operator would be able to use a higher power level per satellite, thus delivering the same internet speeds with fewer satellites in a given area, which could reduce costs.

Featured Video For You NASA's Artemis II launches to the moon

SpaceX, whose Starlink is actually mentioned in a footnote of the text, lobbied for this change, which led the FCC to consider changing these rules. Both SpaceX's Starlink and Amazon's Leo systems have already received a temporary approval to exceed the current power limits, but the new proposal, if approved, would make this permanent.

Not everyone is happy about the proposal, though. For example, satellite TV company DirecTV previously said its service could face disruptions if SpaceX is allowed to increase Starlink radio emission levels.

The full text of the document is available on the FCC website.

They say don't meet your heroes, and the new-to-Broadway stage play starring Aya Cash (You're the Worst, The Boys) shows why.

Written by Mark Rosenblatt, Giant stars John Lithgow as Roald Dahl. The British children's book author is best known for such beloved stories as Charlie and the Chocolate Factory, James and the Giant Peach, and Matilda. This play, however, addresses how the reception of that work shifts as Dahl expresses antisemitism in other published works and interviews in 1983. When his caustic comments cause public outcry, it's up to an American publisher named Jessie Stone (Cash) to manage this bullying "giant" so the scandal won't hurt the sales of his next book, The Witches. As big an admirer as Jessie is of his work, she is shocked by Dahl's viciousness and politics. And Cash proves a compelling, resilient scene partner to a rampaging Lithgow.

Cash came by the Say More studio to talk about Giant, which made the leap from the West End to Broadway this spring. The play deals not only with the specifics of Dahl but also with broader questions about art versus the artist, cancel culture, and more. With Entertainment Editor Kristy Puchko, Cash spoke about how she struggles with such questions in her own life. In the full interview, on YouTube, she also talks about what drives her as an actor, her work on Giant and The Boys, and the silliest bit of playing a superhero on the upcoming prequel spinoff series Vought Rising, in which she'll reprise the role of Stormfront.

Giant is now on Broadway.

The Boys Season 5 is now on Prime Video, with a new episode every Wednesday.

Vought Rising's release is currently TBD.

If you've ever felt like a lab rat in a hellish maze when trying to exit a subway station, you need to watch Exit 8.

Based on (and almost identically replicating) Kotake Create's acclaimed 2023 game, director Genki Kawamura's adaptation is a staggeringly meticulous piece of cinema. Fans of the game will be shocked to see those signature hallways come to life; newcomers will get to experience the maddening escape room for the first time.

SEE ALSO: 'Exit 8' trailer is one of the freakiest trailers I've seen in an age

At once a masterpiece of game-to-film adaptation, an elegant, nail-biting horror-thriller, and a technical cinematic marvel, Exit 8 locks you in and leaves you to flail. You'll never see your commute the same way.

What is Exit 8 about? Kazunari Ninomiya and Naru Asanuma in "Exit 8." Credit: Neon

To call Kotake Create's game The Exit 8 a walking simulator is an understatement. This masterpiece of environmental storytelling is essentially a nightmarish spot-the-difference experience that ties players in knots when it's not leaving them terrified. Like a Möbius strip, Exit 8 sends you into a seemingly endless loop, walking the same mundane yet unsettling subway hallway beneath Tokyo again and again, with the only chance of escape a mysterious set of instructions: If you find anomalies, turn around immediately. If you don’t find anomalies, do not turn back.

Kawamura and co-writer Kentaro Hirase expand this puzzle into three acts, installing a compelling protagonist, exploring other characters (including an outstanding performance by Yamato Kōchi as The Walking Man), and adding a running theme of fatherhood. We meet an unnamed man (an exceptional Kazunari Ninomiya) on his way to his temp job in the Tokyo subway. He's crammed into a train carriage with thousands of other silent commuters, all glued to their phones in a deeply familiar image. When an upsetting confrontation occurs, he simply turns up the volume and zones out, the bystander effect in full force. He takes a rattling call from his ex (Nana Komatsu). When he tries to leave the station, he finds himself trapped in a mysterious looping hallway, tasked with facing (and identifying) chilling oddities — a door ajar, the sound of suddenly nearby footsteps, a disturbingly exaggerated smile.

While a seemingly simple concept, the themes running through this labyrinth are complex, from the drudgery of the nine-to-five to the weight of major life decisions to the concept of limbo. What is this place? An Escher experiment? A modern version of Dante's Nine Circles of Hell? Kawamura will leave you frantically searching for meaning as you search for aberrations on the screen.

Exit 8 is a masterpiece of filmmaking, from production design to cinematography It's perfect. Credit: Neon

The first time our "Lost Man" rounds the corner into Exit 8's all-important hallway, my jaw hit the floor. Production designer Ryo Sugimoto, set designer Yutaka Motegi, lighting designer Tatsuya Hirayama, and set decorator Yutaka Motegi have perfectly recreated Kotake Create's generic subway setting to down to the very last detail, from the graphic design to the stark lighting and those cruel white tiles. It's a magnificent feat, building this seemingly endless hallway for uninterrupted shots, captured with meticulous precision by cinematographer Keisuke Imamura. 

Long one-shots track Ninomiya's superb, overtly physical performance as he frantically attempts to escape the hallway and survive the disturbing jumpscares, many from visual effects supervisor Seiji Masamoto. The game itself wields first person perspective with every step, turn, or movement through space functioning as player-propelled cinematography, and Imamura expertly channels this into Exit 8, executing a hypnotic, unsettling march through these dreaded hallways.

However, none of this would hit quite so hard without Exit 8's supervising sound editor and foley artist Masaya Kitada. Sound becomes a bona fide weapon in Kitada's hands, building dread from the crisp clack of footsteps and the buzzing of fluorescence, or straight-up terrifying you from inside a locker. Make sure you see this film with a monster sound system.

Exit 8 will have you playing spot-the-difference too

The key game mechanic of The Exit 8, spotting the anomalies, also functions as the narrative driver of the film, as the protagonist studies the few consistent elements of the hallway in order to spot anything amiss. Some anomalies are obvious, while others are microscopic. With the latter, deciding whether an anomaly is in fact one becomes as risky a move as deciding it's not. It's maddening, this constant state of flux between ennui, frustration, drudgery, and pure terror.

Through Imamura's calculated cinematography, the audience is also able to play along in some instances in which we desperately roam the screen to identify an anomaly before the Lost Man does — there were more than a few moments when I pointed, pantomime-style, at the screen wanting to yell "IT'S BEHIND YOU!" Granted, fans of the game will be less freaked out by the startling nature of the anomalies, as experiencing them on a first-time play is as unsettling as watching the film.

While video game adaptations come in a range of sublime to mediocre, Exit 8 is a triumphant realisation and expansion of the original concept. Kawamura's punctilious direction and his incredibly talented cast and crew amplify this contained hallway in satisfying, chilling ways. You'll remain in this hallway long after you've left the cinema — we're all still staring blankly at that Exit 0 sign.

Exit 8 is now in cinemas.

Featured Video For You 'No Other Choice' skewers the job market. Here's why Park Chan-wook made it.

In a story about Hollywood, there's bound to be more than a few stars in the mix.

In Outcome, co-written, directed, and starring Jonah Hill, Keanu Reeves plays a fictionalised version of himself: a famous actor who's known for being the nice guy of the entertainment industry, something well-documented on the internet about Reeves himself.

SEE ALSO: Wait, that's Jonah Hill? The 'Outcome' makeover turns the actor unrecognizable

Beyond the main cast of Reeves, Hill, Cameron Diaz, and Matt Bomer, there's a flurry of cameos from famous faces you might catch or miss. We've rounded them all up so you can play spot-the-celeb.

Yes, that's Martin Scorsese. Credit: Apple Martin Scorsese

The legendary director, who also had a cameo on The Studio, appears as Richie "Red" Rodriguez, Reef's first manager in the business. He now runs his own bowling alley.

Cary Christopher

The pint-sized Weapons star upstages Martin Scorsese in his own scene in the bowling alley. It's gold.

Drew Barrymore

Essentially playing herself, the Hollywood icon interviews Reef on her show, bonding with him as a former child star herself.

Van Jones

The political commentator, former White House advisor, and CNN regular appears at the beginning of the film as a journalist interviewing Reef on his show.

Laverne Cox

One of the crack team of crisis lawyers Ira (Jonah Hill) pulls together to represent Reef, Cox appears as Virginia Allen-Green, "the most legendary advocate for women whose rights have been violated."

Roy Wood Jr.

Also on Ira's top lawyer team, the comedian plays "the sultan of social justice," Reverend Leondrus Carter.

Atsuko Okatsuka

The comedian plays another member of Ira's super team, lawyer and activist Unis Kim.

Roy Wood Jr. and Atsuko Okatsuka in "Outcome." Credit: Apple David Spade

The comedy actor plays "Malibu teen dad" Buddy Gomorrah, who is renting the house beside Reef's with his pregnant partner.

Kaia Gerber

It's a brief moment, but the model plays Oksana, Buddy's pregnant partner. Her grandmother apparently dated Reef.

Susan Lucci

The All My Children icon turns up as Reef's mother Dinah, a reality star and one of the Real Housewives of Beverly Hills.

Ivy Wolk

More of a supporting role than a cameo, the Anora star plays Reef's assistant, Sammy.

Nicolas Noblitt

Playing Ira's son Eli, the actor and wheelchair dancer bonds with Reef outside his dad's office.

Shola Adewusi

The British star of Bob Hearts Abishola shows up as a fan of Reef's who apprehends him in the supermarket.

Nikolai Nikolaeff

The Australian actor (The Last Voyage of the Demeter) appears as a fan who takes a snap of Reef in the supermarket.

Outcome premieres on Apple TV April 10.

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DISNEY+ BUNDLES: Disney+ is offering bundle deals so you can stream the best of its library at a lower price.

The best Disney+ deals and bundles in April 2026: Best Hulu Bundle Deal Disney+ and Hulu Bundle $12.99/month with ads Get Deal Best HBO Max Bundle Deal Disney+, Hulu, and HBO Max Bundle $19.99/month with ads, $32.99/month ad-free Get Deal Best ESPN Bundle Deal Disney+, Hulu, and ESPN Unlimited Bundle $35.99/month Get Deal

Whether you're looking to jump into the latest superhero saga or journey to a galaxy far, far away, Disney+ is the streaming service for you.

Home to Marvel, Star Wars, Pixar, and more, Disney+ offers a library that's stuffed full of shows and films to keep both adults and kids entertained. With Disney+, you can watch Star Wars: Maul – Shadow Lord, Zootopia 2, the second season of Daredevil: Born Again, and much more.

If you've had this streaming service on your radar but you've been unsure which plan is the best fit for you, we've got you covered with a selection of Disney+ streaming deals. This includes the Disney+, Hulu, and HBO Max package, which is a great investment for those who already own the other two streaming services and are looking to cut down on costs.

SEE ALSO: An 'Animorphs' series is on its way to Disney+ thanks to Ryan Coogler

We've detailed all of the available bundle deals below, alongside basic information on Disney+ plans if you just want the House of Mouse's service on its own.

Best Hulu bundle deal Opens in a new window Credit: Disney Disney+ and Hulu Bundle $12.99 per month with ads Get Deal Why we like it

For those interested in the ad-supported Disney+ and Hulu Bundle, which groups together Disney+ and Hulu, it starts at $12.99 per month. If you'd prefer to get rid of ads, the Premium ad-free version comes to $19.99 per month.

• Disney+ and Hulu Bundle — $12.99 per month

• Disney+ and Hulu Bundle Premium — $19.99 per month

Best HBO Max bundle deal Opens in a new window Credit: Disney Disney+, Hulu, and HBO Max Bundle $19.99/month with ads, $32.99/month ad-free Get Deal Why we like it

The Disney+, Hulu, and HBO Max bundle is one of the best available at the moment. Starting at $19.99 per month, you can have three excellent streaming services right in the palm of your hand. The $19.99 per month option is for the With Ads plan, but if you'd prefer to watch your favorite content without ads, the No Ads plan comes to $32.99 per month. Compared to what you'd pay for each of these on their own, you're saving 42% with the ad-supported plan and 41% with the ad-free plan.

• Disney+, Hulu, HBO Max Bundle (with ads) — $19.99 per month (save 42%)

• Disney+, Hulu, HBO Max Bundle (no ads) — $32.99 per month (save 41%)

Best ESPN bundle Opens in a new window Credit: Disney Disney+, Hulu, and ESPN Unlimited Bundle $35.99/month Get Deal

If you're a sports fan looking to add ESPN to your bundles, you're in luck: Disney offers bundles with both ESPN Select and ESPN Unlimited. According to ESPN, "ESPN Select includes ESPN+ content only. Fans who want ESPN+ exclusively may subscribe to the ESPN Select plan. ESPN Unlimited includes all of the ESPN networks and services, including ESPN+."

The Disney+, Hulu, ESPN Unlimited Bundle, which has ads, is available for $35.99 per month. The Disney+, Hulu, ESPN Unlimited premium bundle without ads is available for $44.99 per month.

• Disney+, Hulu, ESPN Select Bundle — $19.99 per month

• Disney+, Hulu, ESPN Select Bundle Premium — $29.99 per month

• Disney+, Hulu, ESPN Unlimited Bundle — $35.99 per month

• Disney+, Hulu, ESPN Unlimited Bundle Premium — $44.99 per month

Best Disney+ monthly plans

Disney+ offers two standard plans if you just want the service on its own. The Disney+ ad-supported plan comes to $11.99 per month while the ad-free Disney+ Premium plan will set you back $18.99 per month or $189.99 per year if you'd rather pay annually.

• Disney+ (With Ads) — $11.99 per month

• Disney+ Premium (No Ads) — $18.99 per month, $189.99 per year

Disney+ has also created an "extra member" plan for people using your account that live outside of your household as they crack down on password sharing. If you're looking to add another person onto your account, you're only allowed one extra profile and can choose from the following add-on plans:

• Disney+ (With Ads) — $6.99 per month

• Disney+ Premium — $9.99 per month

• Disney+, Hulu Bundle — $7.99 per month

• Disney+, Hulu Bundle Premium — $10.99 per month

• Disney+, Hulu, ESPN Select Bundle — $11.99 per month

• Disney+, Hulu, ESPN Select Bundle Premium — $14.99 per month

There's a wealth of shows and films to check out on Disney+ after you sign up. If you want some help finding something to watch, check out our roundups of the 12 best TV shows for adults on Disney+ and the 20 best movies on Disney+ to start building out your watchlist.

TL;DR: Give your PC an affordable facelift with this Microsoft Windows 11 Pro license, $12.97 (reg. $199) through May 3.

Opens in a new window Credit: Microsoft Microsoft Windows 11 Pro $12.97
$199 Save $186.03   Get Deal

A new operating system makes your computer feel totally new to you. If you want to trick yourself this spring and enjoy the perks of a fresh system without shelling out for a brand new computer, this Microsoft Windows 11 Pro license can help.

Usually $199, you can now snag this easy upgrade for just $12.97 until May 3.

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If you’ve got an old PC, you can give it a refresh for less than the cost of lunch with this Microsoft Windows 11 Pro deal. Your device will feel totally refreshed with this new operating system, filled with new features and tools for you to try.

Windows 11 Pro was created with today’s professional in mind, so whether you’re a developer, an artist, or an entrepreneur, you’ll enjoy a smoother workflow. It offers a seamless, easy-to-use interface, complete with a powerful search experience, easy redocking, snap layouts, and more.

This operating system includes Copilot, the Windows 11 AI-powered assistant, available on the taskbar or when you press the Windows logo key + C. You can ask Copilot questions, create images, and generate code, or even let it change a setting, summarize a web page, or open an app. You’ll also get access to Teams, an app that allows you to stay connected to coworkers, friends, and family.

If you need help in the cybersecurity department, you’ll appreciate Windows 11 Pro’s biometric logins, encrypted authentication, and enhanced antivirus protection, all designed to keep your data safe.

Outfit your PC with this Microsoft Windows 11 Pro license for only $12.97 (reg. $199) now through May 3.

StackSocial prices subject to change.