A slew of notable titles have joined this growing list, including Microsoft Word and Outlook, Zoom, sports apps from the NBA and NHL, shopping apps like Etsy and LTK, productivity tools like Goodnotes and Extra, and camera app Halide Mark III. These join existing Duo-ready apps such as Netflix, YouTube, Instagram, and WhatsApp.

Non-optimized apps can be a bit of a letdown, with a black bar on the side of the screen that eats into valuable display space. In some cases, these apps also hide essential functions behind an overflow menu.

Apple's efforts to support developers in creating Duo-ready apps seem to have paid off. The company claims over 2,000 app developers attended its workshops held across 19 cities worldwide, where they could work on their apps using the Duo with Apple's guidance.

These workshops appear to be part of a larger push by Apple to get more developers up to speed on creating Duo-optimized apps.

The iPhone Duo's high price point didn't seem to deter consumers from snapping up the device, as it quickly sold out within hours of orders opening up.

Apple has now shifted its shipping estimates for the Duo into next year, a move that suggests the company underestimated demand for the device.

On its earnings call this week, Apple revealed that it's struggling to keep pace with demand for the iPhone Duo, stating that it's "hard to predict" when supply constraints will ease up.

Meanwhile, developers continue to show enthusiasm for creating apps optimized for the iPhone Duo, with Susan Prescott, Apple's vice president of Worldwide Developer Relations, praising their creativity and innovation in a recent statement.

A wide range of popular apps have been updated for iOS 27 and optimized for the iPhone Duo, including Spotify, CBS, Tubi, and several others, as developers continue to accelerate the pace of updates.

The rollout of updates for iOS 27 and the iPhone Duo continues to gain momentum, but not all apps have fully adapted yet.

Some popular apps, such as Spotify, are still showing signs of their pre-update state, including a black bar on the side of the screen. This suggests that while these apps are being optimized for the Duo, they may not be entirely ready for prime time just yet. The App Store listing does not currently indicate an update is available.

The pace at which developers are updating their apps for iOS 27 and the iPhone Duo has been accelerated in recent days. Many popular titles have already received updates to take advantage of the new device's capabilities, but some are still lagging behind.

As more apps receive updates, users can expect a smoother experience when using their iPhone Duo, with features and functionality tailored specifically to the device's unique strengths.

Apple's iPhone Duo is set to benefit from a series of app updates designed specifically for its unique strengths.

The updates will enhance user experience as more apps receive tailored functionality and features, allowing them to make the most of the device's capabilities.

TechCrunch: https://techcrunch.com/2026/11/06/the-duo-apps-are-coming-says-apple/

The young actor has caught the attention of renowned U.K. casting director Lucy Bevan, who was tasked with finding the perfect child actors for the highly anticipated reboot of the beloved franchise.

Bevan had to sift through tens of thousands of hopefuls vying for roles as Harry Potter, Ron Weasley, and Hermione Granger, making Absolom's selection all the more impressive. Her extensive experience in casting must have played a significant role in identifying top talent like Absolom.

Absolom credits Bevan with easing his disappointment at not landing the Harry Potter role by introducing him to another project she was working on - Club Kid, directed by Jordan Firstman. The film's writer-director had specifically sought out Bevan due to her expertise in casting U.K. child actors for important roles.

Reggie Absolom's character, Arlo, is a significant part of the movie, and his presence adds depth to the story as Peter, the washed-up party promoter, navigates an unexpected father-son relationship with Arlo.

The Cannes premiere of Club Kid was a whirlwind of excitement and applause. Reggie Absolom took center stage alongside his co-star Cara Delevigne, and the crowd's enthusiasm was palpable as they celebrated the film's success.

The aftermath of the premiere was just as lively, with the cast receiving a standing ovation from the misty-eyed audience. This outpouring of support was a testament to the film's enduring charm and the chemistry between Absolom and his co-star.

As news of the film's triumph spread, it sparked one of the year's most intense bidding wars in the film industry. A24 ultimately emerged victorious, securing the rights to Club Kid. This marked a significant milestone for Absolom, who found himself catapulted into the spotlight alongside Hollywood's elite.

Absolom's journey to this moment was far from straightforward. Growing up just outside Oxford, he had spent years honing his craft in roles such as Despicable Me and Swashbuckle. But it was Club Kid that truly put him on the map, earning him recognition and acclaim.

Despite the euphoria surrounding the film's success, Absolom has spoken candidly about his own nerves and doubts during the Cannes premiere. In a recent interview, he recalled feeling anxious as he watched the audience react to the film. "I got a bit nervous," he admitted, "but when I watched it, people were laughing."

As the dust settles on Club Kid's triumphant run at Cannes, Absolom is still grappling with the reality of his newfound fame. He has spoken fondly of the time spent with director Firstman, who went to great lengths to build a rapport with the young actor and his family. Their conversations, Absolom remembered, felt like those between old friends rather than strangers.

Reggie Absolom's musical tastes were put to the test during his audition for Club Kid. To get a sense of their musical preferences, the production team created a Spotify playlist for the kids vying for the role. The standout tracks that caught Absolom's attention included those by Massive Attack and the Cocteau Twins.

These two bands have left an indelible mark on Absolom, who still cherishes their music to this day. In particular, he has a soft spot for the Cocteau Twins, naming them his favorite band. Their unique sound had a profound impact on him, and he remains grateful for that exposure.

Absolom's preparation paid off when he landed the role of Arlo in Club Kid. To celebrate, he set up a makeshift studio, or rather, his bathroom, to record self-tapes. This was not an unusual setup, as it was where Absolom and his family often worked on their projects together.

The Zoom call with the production team was a surreal experience for Absolom. He had expected to face rejection, but instead, he received the news that would change his life. Initially speechless, he couldn't believe his luck when Firstman told him he'd got the part.

For six weeks, Absolom worked on Club Kid in New York City, with two days off each week. This was a far cry from his previous experience working on smaller sets, such as The Other Bennet Sister. Even though Club Kid was an independent production, it felt larger in scope than anything he'd done before.

Absolom took full advantage of his time off to explore the city with his family. They visited iconic landmarks like the Flat Iron and Empire State Buildings, as well as the Statue of Liberty. This experience was a dream come true for any teenager, and Absolom felt privileged to have had this opportunity.

Working on "Club Kid was a stark contrast to Absolom's previous experience in advertising. The scale of the production and the number of people involved were overwhelming at first, but he quickly adjusted.

The set was a vibrant and inclusive space where real-life drag queens, trans people, and queer performers mingled freely. Absolom felt welcome among them, crediting Jordan Firstman for making him feel at ease despite his busy schedule as director, producer, and actor.

Firstman's approach to directing was collaborative, encouraging Absolom to improvise and suggest changes to lines or actions. This approach helped Absolom build confidence in his acting abilities and develop a sense of trust with the director.

One of the film's most poignant moments features Absolom's character returning from the club for the first time. The scene unfolds naturally, without scripted lines, as Firstman had instructed him to be genuinely amazed by the experience.

In this unscripted moment, the on-screen conversation between Absolom and his character Peter is tender and heartfelt. The scene has a real sense of sentimentality that adds depth to the film's portrayal of first love.

Looking ahead, Absolom jokingly suggests that there could be a sequel to Club Kid", where he pursues a career as a DJ in the United States. He seems to enjoy the idea of exploring new creative avenues.

Absolom also shared some lighter moments from the shoot, revealing that one challenge he faced was working with an all-American crew without any other British people or child actors on set.

Absolom's lifestyle as a celebrated actor has not disrupted his childhood entirely. He still manages to attend school and maintain two separate friend groups, one that consists of peers from his acting career and another made up of friends he knows outside of the industry.

These two friend groups have different levels of interest in Absolom's acting endeavors. The group of friends he knows through acting are more invested in his projects, particularly when it comes to Club Kid, which is expected to be released in the UK soon.

The Hollywood Reporter: https://www.hollywoodreporter.com/movies/movie-features/reggie-absolom-club-kid-a24-interview-film-jordan-firstman-1236747665/

The track's lyrics see Rodrigo asking her boyfriend to take things seriously by inviting her to his parents' house for the holiday season. Fans were quick to notice similarities between this new release and The Waitresses' 1981 song Christmas Wrapping, with many sensing a deliberate nod rather than an accidental one.

However, according to Chris Butler, who penned The Waitresses' festive hit, Rodrigo's borrowing was indeed intentional - she had reached out to him specifically to clear the use of his song. Butler took to Facebook to share the story behind this unexpected collaboration.

In a post on social media, Butler revealed that he initially suspected the email from Rodrigo was a prank due to his unfamiliarity with her work; however, after conducting some research and learning more about her career, he became an admirer not only of her music but also of her business acumen.

Butler's response to Rodrigo was laced with humor and humility, as he acknowledged that her comments were indeed sweet and flattering - even if she wasn't who she claimed to be.

He began by expressing his gratitude for her email, before poking fun at the possibility that it might have been a prank. This tongue-in-cheek approach set the tone for their exchange, which was soon to become more serious.

Butler went on to compliment Rodrigo's music, praising its arrangements and lyrics. He noted that he particularly appreciated how her recordings sounded like they featured live instrumentation, and that she seemed to understand his songwriting style.

He also accepted Rodrigo's invitation to hear her Christmas song, and shared his thoughts with his followers - describing it as "great" and predicting that it would be a hit in the UK.

Rodrigo's single was written last summer by her longtime collaborator Dan Nigro and Amy Allen, who has worked on songs for various artists including Harry Styles and Sabrina Carpenter.

The Christmas song's storyline is also being told through a video that follows the same narrative as the single. The video features Ben Marshall as Rodrigo's feckless boyfriend and Nixon as her prospective mother-in-law.

This year's Christmas number one contenders are numerous, with several major releases hitting the market in the same week. Sam Fender has recorded a cover of the Rolling Stones' You Can't Always Get What You Want for John Lewis' Christmas advertising campaign.

Other notable releases include CMAT and Elton John's countrified version of Step Into Christmas, as well as Alanis Morissette's album Good Weather for Immaculate Conception and Sufjan Stevens' compilation Worst Christmas Ever.

The festive season is upon us, and with it comes a slew of new Christmas songs vying for attention on the charts. However, one track that stands out from the crowd is Kate Nash's Christmas Eve, which tells the poignant story of her grandparents meeting on Christmas Eve in Dublin.

In contrast to these heartfelt releases, Wham's Last Christmas and Mariah Carey's All I Want For Christmas Is You typically dominate the festive charts, making it a tough task for newcomers. The two songs have already entered the UK's Spotify top 10, beating last year's entry date by two weeks.

Wham secured the number one spot in both 2023 and 2024, and with this year marking the 10th anniversary of George Michael's passing, fans may be eager to give their beloved song a boost, potentially securing another Christmas number one for the iconic duo.

BBC News Entertainment: https://www.bbc.co.uk/news/articles/crje55yzjw47o?at_medium=RSS&at_campaign=rss

For one user, the loss of Arc was not a significant blow as they had already switched to Zen Browser several months prior. They claim that Zen offers everything needed in an alternative package and have found it to be a more than suitable replacement for Arc.

One of the key features of Zen is its similarity to Arc's interface. It has adopted many of the same design elements, including pinned sites, a tab bar on the left, and customizable mod capabilities. This visual similarity makes it easy for users to adjust to Zen without having to relearn how to navigate a new browser.

Zen's approach to user experience is notable in its lack of reliance on artificial intelligence (AI) and machine learning algorithms. Unlike some other browsers that have an AI-powered assistant running in the background, Zen focuses solely on providing a web browsing service without collecting or analyzing user data for personalization purposes.

The developers behind Zen emphasize their commitment to creating a browser that prioritizes user privacy above all else. With its minimalist approach and feature-rich design, Zen is positioning itself as a viable alternative to Arc and other browsers that have adopted more invasive AI-driven features.

The Zen browser is committed to prioritizing user experience over data collection, as evident in its straightforward mission statement.

This commitment to transparency resonates with users who value their online privacy, especially those who have grown wary of browsers that seem to exploit their personal data for profit.

Zen's open-source nature and reliance on volunteer contributions set it apart from commercial browser projects like Arc, which has faced criticism for its data-driven approach.

One key advantage of Zen is its flexibility when it comes to extensions - users can install not only Zen Mods but also Firefox add-ons, offering a wider range of customization options.

Zen's user interface is also designed with productivity in mind, featuring features such as links that open in a temporary "glance" view and a floating bar for launching new tabs or switching between existing ones.

One major limitation of Zen is its inability to play DRM-protected video content at this time, which means users cannot access popular streaming services such as Netflix and Spotify within the browser.

This restriction is due to the fact that Zen has yet to obtain a Widevine license from Google, a necessary step for supporting digital rights management. In the meantime, users who need to watch videos or listen to music will have to switch to other browsers like Chrome, which is not an ideal solution but works nonetheless.

Another area where Zen falls short is in its implementation of web MIDI support, which is currently lacking compared to Firefox's capabilities. As a result, users may find themselves toggling between Chrome and Zen depending on their specific needs, which can be inconvenient.

Despite these limitations, Zen has made significant strides since its early days and now offers a clean and intuitive interface that is well-suited for productivity tasks. Overall, while it may not offer the same level of features as some other browsers, Zen's strengths make it an attractive option for those looking for a streamlined browsing experience.

The Verge: https://www.theverge.com/tech/1018275/zen-browser-arc-replacement

This phenomenon is starkly illustrated by statistics from streaming service Deezer, which reveals that AI-generated music accounts for a mere 0.5% of its total streams. Meanwhile, Spotify has removed an impressive 75 million "spammy tracks from its catalogue, but this doesn't seem to have impacted the dominance of traditional music.

Independent analytics company Luminate has been tracking music streaming since 2008 and reported a striking trend in 2026: almost two-thirds of streamed music in both the UK and US was released five or more years ago. This suggests that listeners are increasingly favouring nostalgia over new releases.

In the UK, this preference for older music is evident in the charts, where 18 out of the top 20 bestselling songs were released 12 months ago or earlier.

The popularity of older songs is evident in the charts, where several decades-old hits continue to dominate the rankings. Zara Larsson's Lush Life, released in June 2015, has become this year's eighth biggest hit, while Michael Jackson's Billie Jean (1983) and Fleetwood Mac's Dreams (1977) are also high up on the list.

This trend suggests that music listeners are increasingly seeking out established classics, a phenomenon known as deep catalogue in the industry. In fact, older songs make up about 60% of streams in the R&B and Hip-Hop genres, which are among the most popular categories.

New releases often experience a surge in popularity when they debut, but this typically tapers off quickly. However, some songs have managed to defy this trend by dominating streaming for weeks or even months on end. For instance, Sam Fender and Olivia Dean's duet Rein Me In recently made chart history with its record-breaking 23 non-consecutive weeks at number one.

In the US, Ella Langley's Choosin' Texas has also achieved an impressive feat, becoming the longest-running number one in the country's chart history. Meanwhile, a staggering proportion of streams are generated by only the most successful artists, according to the UK's Competition and Markets Authority - nearly two thirds, in fact.

The music industry is grappling with a pressing issue: how to help artists sustain their careers beyond a single hit song.

Many musicians face challenges in promoting subsequent releases and building a loyal fan base after achieving initial success. They struggle to create meaningful connections with listeners who are increasingly drawn to viral moments rather than artist longevity.

According to J Erving, founder of Human Re Sources, the distribution company for Raye's music, fans have become more passive in their engagement with artists. He notes that it is now easier for people to be casual fans, only interested in a song rather than the artist behind it.

The music industry is working to address this problem by supporting emerging talent and encouraging deeper connections between artists and listeners.

Sofar Sounds is one of several organisations working to promote grassroots musicians by hosting intimate pop-up gigs in cities worldwide.

The Shoreditch Sofar Fringe festival last October featured a diverse range of artists, including East London rapper J Casa, who believes that live performances have the power to create lasting connections between audiences and new music.

In an era where content oversaturation is becoming increasingly prevalent, Casa suggests that people are more likely to form meaningful bonds with artists when they experience their music in person rather than through pre-existing playlists or recommendations.

Sofar Sounds has launched its Human Discovery Movement campaign, which seeks to reinvigorate the role of human curation and discovery in the music industry by putting music lovers back at the forefront of new music discovery.

Music enthusiasts can now engage with Sofar's tastemakers via a text messaging service that sends voice notes with recommendations for emerging artists from around the world.

The rise of algorithm-driven music streaming services has led to concerns that genuine music discovery and creatives' livelihoods are being undermined.

Critics argue that personalized playlists often rely on users' existing listening habits, resulting in repetitive recommendations rather than introducing new artists or styles. This approach can lead to a homogenization of musical tastes, where users are presented with a narrow range of familiar sounds.

Independent artist Chiminyo has observed this phenomenon firsthand while browsing through popular playlists on streaming platforms. He claims that many top featured" artists have unverified accounts and little information is available about them online, raising suspicions about their authenticity.

Furthermore, Chiminyo's trained ear detects a striking similarity in the sound quality across tracks by different artists within these playlists. He believes that this uniformity suggests mass-produced music, created using digital tools to replicate a specific style rather than genuine artistic expression.

This has sparked concerns about the impact of algorithm-driven curation on the music industry, with some arguing that it prioritizes quantity over quality and rewards producers who churn out generic sound-alikes over original artists.

Spotify has implemented platform-wide policies to tackle impersonation and is working to improve its filtering of AI-related issues. However, the company acknowledges that music production using AI exists on a spectrum, with some artists embracing it more than others.

This admission suggests that AI's influence in music creation is not going away anytime soon. As a result, new music faces significant challenges in competing for listeners' attention.

BBC News Entertainment: https://www.bbc.co.uk/news/articles/c6kg50nnj0x4o?at_medium=RSS&at_campaign=rss

The standalone app is launching today in select Audi models, including electric vehicles such as the A6 e-tron and Q6 e-tron, as well as gas-powered cars like the A5, Q5, and A6. This marks a significant shift for Spotify, which has been reliant on Apple CarPlay and Android Auto to deliver its service to car owners.

The move suggests that Spotify is looking to break free from the dominance of these popular phone projection systems, which currently dominate the way people consume media in their cars. The platform's leadership likely recognizes that with a significant portion of users streaming music while driving, having control over the in-car experience is crucial.

With around 34 percent of monthly active users and 77 percent of Premium subscribers listening to music in their cars, Spotify has a substantial stake in ensuring its service meets the evolving needs of car owners. The new native app aims to deliver an immersive experience that is fully controlled by Spotify.

The new Audi application developed by Spotify allows for a more immersive experience, as it is a "headful integration, meaning Spotify has control over how the interface is drawn and structured onscreen.

This marks a significant shift from Spotify's standard Android Automotive app, which operated as a headless integration, with Google's templates dictating the layout of the user interface. With the new Audi application, Spotify can draw and render its own native UI directly on the vehicle's screens from scratch.

Spotify is keen to emphasize that it has complete control over the user experience in this new app, as Tarlton explained: We're drawing all the pixels. This means that Spotify owns the entire interface, without relying on pre-existing templates or frameworks.

The launch of the native Spotify app does not signal a withdrawal from other car integration platforms, however. Spotify remains invested in phone projection and will continue to support Apple CarPlay and Android Auto, which remain widely used for listening to music and podcasts in vehicles.

The new Spotify app allows for seamless integration with a car's infotainment system, eliminating the need for wireless connections that can be unreliable in certain vehicles. This is particularly evident during morning commutes when drivers may experience delays due to slow boot times and screen loading.

According to Jonathan Tarlton, head of automotive business development at Spotify, the native app offers a more streamlined user experience. By drawing all pixels and owning the user interface, Spotify can provide a tailored experience without relying on templates or frameworks.

In addition to improved performance, the new app also introduces features that enhance the overall in-car experience for both drivers and passengers. For instance, front-seat passengers can scan a QR code displayed on the screen to join a wireless Spotify Jam" session, allowing them to add songs directly from their smartphones to the queue.

Passengers with access to a dedicated secondary display can browse, view lyrics, and watch video content without distracting the driver. Moreover, when the vehicle is parked or charging, motion graphics such as video podcasts and lyrics are redirected to the central display for everyone's enjoyment.

The new Spotify app aims to break down barriers between car passengers by providing a shared experience that brings everyone together.

Parents and kids are often separated by headphones in today's cars, but the new app seeks to correct this dynamic by offering features that cater to all occupants.

By focusing on Android-based operating systems, Spotify can minimize the need for bespoke applications tailored to individual automakers.

The Verge: https://www.theverge.com/entertainment/1014261/spotify-native-car-app-audi-android-automotive-carplay