Radiation gets a bad rap. Sure, it causes cellular damage, hair loss and weird mutations, but.

The Consumer Electronics Show for 2025 is behind us, yet the memories of tomorrow’s tech remain. On deck for this CES recap are Popzara’s Senior Tech Editor Herman Exum and techie noob Nate Evans to take listeners through this year’s bits and bytes of what the future possibly holds for us. Sadly, while our favorite tech guest, Computer America’s Ben Crossman may have been absent physically, but he was ever-present in spirit.

While this year’s extravaganza may have been more iterative than innovative, there was still plenty to see and chat about now that the (digital) dust has settled. AI may have dominated the showroom floor (and headlines), but that’s not all! Crazy laptops, VR/AR headsets, faster monitors, stretchable screens, robot companions, cuddle bots, e-car updates, gaming handhelds, next-gen GPUs from Nvidia and AMD, cat accessories, salty spoons, and enough solar powered-goodness for everyone.

Remakes and remasters are interesting and quirky things. Many hope to capitalize on the desire for nostalgia.

Whenever analyzing a musical film, I stop to think if the movie would be good — though not necessarily as good — without the music at all. Musical numbers should certainly enhance the filmgoing experience but they should never be the only reason why we enjoy it.

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The market for desktop GPUs has changed considerably over the last few years, though not always in the best interests for consumers. In a market dominated by two companies, AMD and Nvidia, Intel has been called a much-needed alternative to the entrenched duopoly with the introduction of their Arc graphics cards.

Remaking a beloved classic is always risky, but remaking a cornerstone of horror like Nosferatu is especially challenging. Horror remakes often fail to honor the source material while offering little new.

Oba Electroplating Factory is the fourth collection of Yoshiharu Tsuge’s manga to be handsomely collected (and painstakingly researched and translated by Ryan Holmberg) by Drawn & Quarterly, but it’s more than just another anthology of comics from one of the most consequential pioneers of Japan’s post-war underground comics scene. Few artists from Tsuge’s era are responsible for bodies of work that have remained as compelling, or as vital, as his.