On this day in 1975, Bill Gates and Paul Allen founded a company called Micro-Soft in Albuquerque, New Mexico.

The two men had worked together before, as members of the Lakeside Programming group in the early 70s and as cofounders of a road traffic analysis company called Traf-O-Data . But Micro-Soft, later renamed to drop the hyphen and relocated to its current headquarters in Redmond, Washington, would be the company that would transform personal computing over the next five decades.

I'm not here to do a history of Microsoft, because Wikipedia already exists and because the company has already put together a gauzy 50th-anniversary retrospective site with some retro-themed wallpapers . But the anniversary did make me try to remember which Microsoft product I consciously used for the first time, the one that made me aware of the company and the work it was doing.

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Google was caught flat-footed by the sudden skyrocketing interest in generative AI despite its role in developing the underlying technology . This prompted the company to refocus its considerable resources on catching up to OpenAI. Since then, we've seen the detail-flubbing Bard and numerous versions of the multimodal Gemini models. While Gemini has struggled to make progress in benchmarks and user experience, that could be changing with the new 2.5 Pro (Experimental) release . With big gains in benchmarks and vibes, this might be the first Google model that can make a dent in ChatGPT's dominance.

We recently spoke to Google's Tulsee Doshi, director of product management for Gemini, to talk about the process of releasing Gemini 2.5, as well as where Google's AI models are going in the future.

Welcome to the vibes era

Google may have had a slow start in building generative AI products, but the Gemini team has picked up the pace in recent months. The company released Gemini 2.0 in December , showing a modest improvement over the 1.5 branch. It only took three months to reach 2.5, meaning Gemini 2.0 Pro wasn't even out of the experimental stage yet. To hear Doshi tell it, this was the result of Google's long-term investments in Gemini.

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European Union regulators are preparing major penalties against X, including a fine that could exceed $1 billion, according to a New York Times report yesterday.

The European Commission determined last year that Elon Musk's social network violated the Digital Services Act. Regulators are now in the process of determining what punishment to impose.

"The penalties are set to include a fine and demands for product changes," the NYT report said, attributing the information to "four people with knowledge of the plans." The penalty is expected to be issued this summer and would be the first one under the new EU law.

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When Francesca Mani was 14 years old, boys at her New Jersey high school used nudify apps to target her and other girls. At the time, adults did not seem to take the harassment seriously, telling her to move on after she demanded more severe consequences than just a single boy's one or two-day suspension.

Mani refused to take adults' advice, going over their heads to lawmakers who were more sensitive to her demands. And now, she's won her fight to criminalize deepfakes. On Wednesday, New Jersey Governor Phil Murphy signed a law that he said would help victims "take a stand against deceptive and dangerous deepfakes" by making it a crime to create or share fake AI nudes of minors or non-consenting adults—as well as deepfakes seeking to meddle with elections or damage any individuals' or corporations' reputations.

Under the law , victims targeted by nudify apps like Mani can sue bad actors, collecting up to $1,000 per harmful image created either knowingly or recklessly. New Jersey hopes these "more severe consequences" will deter kids and adults from creating harmful images, as well as emphasize to schools—whose lax response to fake nudes has been heavily criticized—that AI-generated nude images depicting minors are illegal and must be taken seriously and reported to police. It imposes a maximum fine of $30,000 on anyone creating or sharing deepfakes for malicious purposes, as well as possible punitive damages if a victim can prove that images were created in willful defiance of the law.

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Board game designer and entrepreneur Jamey Stegmaier has published hit games like Scythe and Wingspan —the latter a personal favorite of mine, with a delightfully gentle theme about birds—but this week found him in a gloomy mood.

"Last night I tried to work on a new game I'm brainstorming," he wrote in a blog post yesterday , "but it’s really hard to create something for the future when that future looks so grim. I mostly just found myself staring blankly at the enormity of the newly announced 54 percent tariff on goods manufactured in China and imported to the US."

Most US board games are made in China, though Germany (the home of modern hobby board gaming) also has manufacturing facilities. While printed content, such as card games, can be manufactured in the US, it's far harder to find anyone who can make intricate board pieces like bespoke wooden bits and custom dice. And if you can, the price is often astronomical. "I recall getting quoted a cost of $10 for just a standard empty box from a company in the US that specializes in making boxes," Stegmaier noted—though a complete game can be produced and boxed in China for that same amount.

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Plant cells are surrounded by an intricately structured protective coat called the cell wall. It’s built of cellulose microfibrils intertwined with polysaccharides like hemicellulose or pectin. We have known what plant cells look like without their walls, and we know what they look like when the walls are fully assembled, but we’ve never seen the wall-building process in action. “We knew the starting point and the finishing point, but had no idea what happens in between,” says Eric Lam, a plant biologist at Rutgers University. He’s a co-author of the study that caught wall-building plant cells in action for the first time. And once we saw how the cell wall building worked, it looked nothing like how we drew that in biology handbooks.

Camera-shy builders

Plant cells without walls, known as protoplasts, are very fragile, and it has been difficult to keep them alive under a microscope for the several hours needed for them to build walls. Plant cells are also very light-sensitive, and most microscopy techniques require pointing a strong light source at them to get good imagery.

Then there was the issue of tracking their progress. “Cellulose is not fluorescent, so you can’t see it with traditional microscopy,” says Shishir Chundawat, a biologist at Rutgers. “That was one of the biggest issues in the past.” The only way you can see it is if you attach a fluorescent marker to it. Unfortunately, the markers typically used to label cellulose were either bound to other compounds or were toxic to the plant cells. Given their fragility and light sensitivity, the cells simply couldn’t survive very long with toxic markers as well.

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The white-necked jacobin (Florisuga mellivora) is a jewel-toned hummingbird found in the neotropical lowlands of South America and the Caribbean. It shimmers blue and green in the sunlight as it flits from flower to flower, a tiny spectacle of the rainforest.

Jay Falk, a National Science Foundation postdoctoral fellow at the University of Colorado, Boulder, and the Smithsonian Tropical Research Institute (STRI) in Panama, expected to find something like that when he sought this species out in Panama. What he didn’t expect was a caterpillar in the nest of one of these birds. At least it looked like a caterpillar—it was actually a hatchling with some highly unusual camouflage.

The chick was covered in long, fine feathers similar to the urticating hairs that some caterpillars are covered in. These often toxic barbed hairs deter predators, who can suffer anything from inflammation to nausea and even death if they attack. Falk realized he was witnessing mimicry only seen in one other bird species and never before in hummingbirds. It seemed that the nestlings of this species had evolved a defense: convincing predators they were poisonous.

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Anthony and Joe Russo's new sci-fi adventure film, The Electric State , is adapted from the graphic novel by Swedish artist/designer Simon Stålenhag . So naturally the directors wanted to create their own distinctive look and tone—complete with a colorful array of quirky misfit robots who team up with their human counterparts to take down an evil corporation.

(Some spoilers below but no major reveals.)

The Electric State is Stålenhag's third book, published in 2018. Like much of work, it's set in a dystopian, ravaged landscape: a reimagined America in an alternate 1990s where a war between robots and humans has devastated the country. Paragraphs of text, accompanied by larger artworks, tell the story of a teen girl named Michelle (Milly Bobby Brown) who must travel across the country with her robot companion, Cosmo (Alan Tudyk), to find her long-lost genius brother, Christopher (Woody Norman), while being pursued by a federal agent (Giancarlo Esposito).

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Biohybrid robots work by combining biological components like muscles, plant material, and even fungi with non-biological materials. While we are pretty good at making the non-biological parts work, we’ve always had a problem with keeping the organic components alive and well. This is why machines driven by biological muscles have always been rather small and simple—up to a couple centimeters long and typically with only a single actuating joint.

“Scaling up biohybrid robots has been difficult due to the weak contractile force of lab-grown muscles, the risk of necrosis in thick muscle tissues, and the challenge of integrating biological actuators with artificial structures,” says Shoji Takeuchi, a professor at the Tokyo University, Japan. Takeuchi led a research team that built a full-size, 18 centimeter-long biohybrid human-like hand with all five fingers driven by lab-grown human muscles.

Keeping the muscles alive

Out of all the roadblocks that keep us from building large-scale biohybrid robots, necrosis has probably been the most difficult to overcome. Growing muscles in a lab usually means a liquid medium to supply nutrients and oxygen to muscle cells seeded on petri dishes or applied to gel scaffoldings. Since these cultured muscles are small and ideally flat, nutrients and oxygen from the medium can easily reach every cell in the growing culture.

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