My time and energy spent on cutting edge, AAA gaming has plateaued. Four years into a console generation, the graphics, audio, and gameplay of most games I play are indistinguishable from the experience six years ago. Over 2024, I only spent a fraction of my gaming time with Hellblade II and Star Wars Jedi: Survivor, the two games that taxed my Xbox Series X this year. The rest of my play has been with small indie games (e.g., Balatro, Dungeons of Hinterberg, Star Trucker) or evergreen GAAS like Fortnite and EA FC that are generally playable on 2013-era console hardware, my aging MacBook Air, or even my smartphone.
I used to rationalize my shift away from tech heavy gaming as a personal outlier. As my tastes moved from mega AAA twitch action games and RPGs toward the quirkier indie space, my hardware needs lessened accordingly. Alternatively, one could argue high end hardware is “held back” by many new games still releasing on last gen consoles. But the more I look, the more I suspect I’m part of a trend towards smaller, less graphically intense games derived from indie studios.
When I listen to enthusiast gaming podcasts, among a crowd that may play hundreds of games a year and spends thousands on gaming hardware, the conversation focuses heavily on the PC indie space (e.g., Lethal Company, Phasmophobia) and small niche titles on the console. Across Reddit, ResetEra, and other gaming-focused social media, discussion for a tiny retro poker strategy game like Balatro may run as long as a big budget Black Myth: Wukong or Dragon’s Dogma 2.
A year ago, I criticized Netflix for gatekeeping their highest quality video and audio content behind a premium tier. Max, Prime Video, and Disney Plus have since added similar pricing structures. If you want 4K HDR and Dolby Atmos movies from the biggest four streaming sites, you’ll have to pay more, anywhere from $3 to $7 a month. On a practical level, it ensures the majority of the home movie-watching audience will do so capped at the same 1080p and Dolby Digital 5.1 streams we’ve had for over a decade.
As someone who wants the home movie experience to be great, this is depressing news, especially when the pipeline of high quality audio and video has never been better. Modern capture tech ensures that most film productions, regardless of budget, record in a 4K HDR-friendly format. As home internet bandwidth improves, more households can stream higher quality content without stuttering. Also, practically every TV sold today, including entry level models, supports 4K HDR, while Atmos-ready soundbars and sound systems are more affordable than ever.
I have mixed feelings about 4K Blu-rays after plowing a lot of time and money into the technology. The format has significant hurdles for everyday TV watchers that make me question its longevity. Yet the upgrades have been substantial, at times incredible, even with a dated home theater setup.
That upgrade stems from Blu-ray’s unimpeachable picture and sound quality. In an era where most movies on streaming sites are compressed 1080p, where 4K streams may not even be an option unless you’re on a premium monthly plan, a 4K Blu-ray’s rock solid 4K HDR image looks sensational. The detail can be astonishing. In Blade Runner, as a character reads a newspaper, I can make out the text on individual articles. 4K Blu-rays also preserve the original film grain for movies shot on film stock, given the high quality scan. It’s a subtle effect that adds character, especially for older, classic films.
In fairness, you can purchase and rent many streaming movies in 4K. It’s also a commonplace resolution for streaming originals on services like Netflix and Apple TV Plus. However, because the data transfer rate on streaming is a third to a quarter of that on Blu-ray (streams top out at 40mbps, while Blu-ray maxes to 128mbps), the former relies on compression and other algorithmic tricks to deliver video.
Every mainstream entertainment hit – from Marvel to Call of Duty, to prestige TV – is at more risk of a rapid decline in popularity than ever. Fueled by the internet and on-demand media, alternative options are compelling and diversified. So when the audience sees a weak spot in their entertainment library, many bail to new possibilities, even across different forms of media, and don’t look back. Let’s call it Niche Consumption Theory (NCT).
NCT is an underrated contributor to The Marvels bombing. While many factors sunk the box office, from middling reviews to superhero fatigue, it’s exacerbated by having so many great leisure substitutes to swap in. TikTok, PS5, mobile gaming, Netflix reality TV, VR, and other alternatives can look very appealing against a mid-tier MCU film. They won’t match the spectacle of a $300 million movie, but they don’t have to.
As streaming services continue to raise prices and make questionable quality control decisions (unwanted filler, canceling shows, stripping perks), it’s crucial to take charge.
Pare down to the essentials, and treat everything else with a temporary “jump in, jump out” mindset. It’s a straightforward approach to follow, and along the way, you’ll save money and improve your watching patterns by paring down to what matters most.
Start with an audit of your interests and viewing habits. While a few rare types skip across many subscriptions evenly, it’s more likely that only one or two services dominate your time. Many would pick Netflix, with its abundant back catalog, or Disney Plus for family viewing. I’m a huge foreign and indie movie fan, so Mubi or The Criterion Channel are my go-tos. Limit this list to just one or two services, and consider them essentials. Subscribe and don’t look back.
After almost two decades of avoiding Microsoft-based web products whenever possible, I’ve come full circle: the new Microsoft Edge is my browser of choice. It has excellent privacy options, a large extension community, and developer support that makes it a reliable option on macOS over Chrome, Firefox, and Safari.
Admittedly, when I first started using the new Chromium-based Edge a few months ago, I was skeptical about its potential. Microsoft’s Internet Explorer left a bad taste in my mouth, thanks to the struggles I had developing against IE6 and IE7 in the early 2000s. But the more time I spent with this fresh iteration of Edge, the more I was left impressed.
Tot, a scratchpad app for macOS and iOS, has graduated from a side experiment to an essential part of my workflow in a matter of weeks. I highly recommend giving the app a try on Mac (it’s free), and if the design works for you, buy it on iOS.
Admittedly, when I first saw Tot pop up on social media and sites like MacStories, I was skeptical. There are already hundreds of note taking apps available on the App Store. Given several options like Bear and iA Writer nail the basics so thoroughly, with strong aesthetic design and years of iteration, it’s hard to see how any new competitor can stand out. But I’ve always had longstanding respect for The Iconfactory in terms of their attention to visual design. $20 later (more on that price in a bit), equipped with Tot’s iOS and Mac apps, I dove in to give it a try.
Two of the Macbook Pro’s most hyped improvements – the Touch Bar and more compact profile – have little benefit to many professionals. I’m worried Apple is increasingly hawking consumer level tech that’s missing the high end market.
At least half of the developers and designers I know work primarily with a Macbook Pro hooked to an external display and paired with an external keyboard and mouse. Ergonomics improve with both displays at similar height and distance. It’s more efficient to scan and drag content given the screens’ proximity. And by driving the setup through a laptop, you still get the flexibility of a portable device for meetings or work on the go.
Therein lies the rub with the Macbook Pro’s Touch Bar. With the aforementioned setup, the Macbook’s distance makes the Bar out of reach and hard to see. Ironically, a setup for serious work nullifies the Bar’s purported productivity benefits. And based on Apple’s pricing segmentation, we’re paying a premium for it as well.
During runs and lighter coding sessions, I love listening to podcasts. Deep, geeky chats on tech, film and gaming are fun and instructive. The best podcasts are addictive; with memorable hosts and segments, it’s like checking in with old friends. Yet as my days get busier, I’ve had to pare down to just a few strong choices.
Balance separates great from merely good podcasts. They cover a diverse set of opinions, either from a revolving set of guests or hosts from different backgrounds. Yet it can’t be too diverse or the chemistry breaks down.
I’ve written on my own blog for years with the same cadence. I share links with small bits of commentary a few times each week. Longer pieces take more effort; I spread them throughout the year as time and mood allow. Yet going forward, that balance between long and short form will change. Link posts will be rare, while I hope to write larger pieces more often. I’d rather provide more depth here and move quick impressions largely to other platforms.
This change was inevitable given the effect social media and mega-platforms are having on smaller sites. Web-based link blogs, with rare exceptions like Daring Fireball, are dead. Quick takes and snap judgements have moved to Twitter and other social media. It’s just a better fit; they’re new platforms optimized for sharing, speed, and connectivity.