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You can now read every article that has ever appeared in The New Yorkerfrom as early as February 1925with the click of a button. For the publications centennial anniversary, its editorial team has spent months painstakingly scanning, digitizing, and organizing every single issue it’s ever published, or more than half a million individual pages. Each issue is artfully arranged in a chronological display under a purpose-built archive section of the website; but the content has also been incorporated into The New Yorkers search algorithm so that readers can come across it organically. As the future of magazine journalism remains uncertain, a look back through this carefully archived material demonstrates the importance of preserving print media for the future. Digitizing a century-old archive The process of digitizing The New Yorkers full catalog actually started back in 2005. That year, explains Nicholas Henriquez, the publications director of editorial infrastructure, Random House published The Complete New Yorker, a book that came with DVD-ROMs (now retro tech) containing scanned pages from all the pre-digital issues. Then, in early 2024, Henriquezs team started to convert those scans into digital text. To start, this meant consulting with The New Yorker library, where the magazines physical archives are stored, to re-scan several hundreds of pages that required another pass for a number of reasonsincluding damage, a poor initial scan, or a corrupted file. Some of the older issues, from the first five years or so, were basically untouched, Henriquez says. I had to use a letter opener to open the pages to scan some of them. After the team had a complete collection of files, they then began the painstaking process of formatting and styling them for the web. There were the predictable challenges of making old magazine articles work online. Each needed a workable headline, description, and image. Bylines in particular were tricky, Henriquez says, as many early writers would use pseudonyms or humorous one-off pen namesor, in some cases, fail to sign their name at all. Thats part of the value of having, as The New Yorker does, a team of technologists who are part of the editorial staff: We can build these databases and apps and scripts, and we can also look at something in that database like Ogden de Sade and know, okay, thats Ogden Nash, and its funny, and we should figure out a nice way to keep that joke online, Henriquez says. There were many instances where our technological approach was informed by this deep understanding of the magazines history and its cultural context. Unearthing a treasure trove of early journalism Over the course of this process, Henriquez unearthed stories that he never could have expected. He came across a short, unsigned book review from 1935 of a memoir by a survivor of a Nazi concentration camp, and says he had to triple-check that we didnt have bad data somewhere, because that review was published in March of 1935, just two years after Hitler became chancellor. I didnt realize those stories were out there that early, much less being translated into English and published in America. On a lighter note, he also found a piece about going to the Newark airport at the dawn of commercial aviation in 1933, and a 1947 article thats one of the first examples of TV criticism ever published by The New Yorker. Along the way, he says, he rediscovered what makes magazine writing special. In a newspaper, most stories have the same framing: This happened, Henriquez explains. “But a magazine article can do something different: It can be told in a different tense or in a different wayThis could happen, This happened to this person. Examples of this distinct genre of analysis include a 1969 article, a few months before the moon landing, that lays out how it will happen, step-by-step; or a pre-Sputnik piece about American scientists trying to launch the first satellite; or a 1961 feature on the rollout of desegregation, as witnessed by author Katharine T. Kinkead and a group of Black college students driving around Durham, North Carolina. Henriquez says: These kinds of things, I think, make magazine journalism essential and unique.
Category:
E-Commerce
Every year the world gets a little more digitaland every year we still find surprise, delight, and meaning in the physical and the material. Like books or movies, the objects we obsessed over tell a story about the year gone by. So to continue a tradition that goes back several years now, heres my look at the objects that tell the story of 2025: the joys, the absurdities, and the difficult-to-explain. [Photo: Chip Somodevilla/Getty Images] 1. Gold Oval Office Decor To call the second Trump administration a new gilded age is less a critique than a straightforward descriptor. Most notably, the president has transformed the look of the Oval Office into a barrage of gold, from gilded statues and vases to accent pieces that Internet sleuths said were actually just painted decor from Home Depot. (Trump denied this.) While mocked as tacky by many observers, the look is of a piece with a continuing embrace of brazen material opulence, from a $1 million gold card visa and a massive new ballroom where the East Wing used to be, to accepting a $400 jet from the Qatari government and a newly invented peace prize from FIFA that involved a trophyan oddly gruesome object according to The New Yorker, but a shiny one, too. [Photo: Walmart] 2. The Wirkin Bag Walmart doesnt usually find itself in the same conversation as luxury brands. But the discount behemoths $78 bag that echoed the design of the Herms iconic $10,000-and-up Birkin was dubbed the Wirkin on social media. It quickly became a sensationand an emblem of dupe culture, in which lower prices handily trump authenticity. That may threaten the value of some high-end brands, but actual Birkins remain coveted: The original, made for actress Jane Birkin, sold at auction for $10.9 million this year. [Photo: Starbucks] 3. Starbucks Bearista Tumblers Starbucks attempted turnaround journey included rough patches like closing hundreds of locations and laying off employees. But the coffee giant proved it can still generate excitementmaybe more excitement than it wanted. Customers lined up at 3 a.m. to score limited-run, bear-shaped glass tumblers for $30 a pop, and sometimes getting into scuffles when there werent enough. But the Bearista cups promptly became a meme, even inspiring good-natured copycat tributes from the likes of Aldi and Walmart. Recently, Starbucks has brought the object back (on a limited basis of course) as a prize for members of its rewards program. [Photo: RubinObs/NOIRLab/SLAC/NSF/DOE/AURA/B. Quint] 4. Vera C. Rubin Observatory Telescope In a year when science seemed under assault, the worlds largest telescope debuted with jaw-dropping views of space, including millions of galaxies and thousands of never-before-seen asteroids in our solar system. Decades in the works, the observatory is at the summit of a Chilean mountain, its telescope equipped with the biggest space camera ever built, with an unprecedented three-billion pixel sensor array. The result, from the start, has been stunning images. [Photo: Stephen Lam/San Francisco Chronicle/Getty Images] 5. Inflatable Frog Costumes Video of Seth Todd, a protester outside an ICE facility in Portland, Oregon, being chemical-sprayed by law enforcement went viral, one assumes, largely because he was wearing an inflatable frog costume. The absurdity was, after all, the point. The outfits success at making heavy-handed tactics look both bullying and clueless is why inflatable costumessharks, chickens, etc.became a popular form of protest-wear. Its an example of tactical frivolity as a form of resistance that defangs accusations of violent opposition. As one observer put it: Its hard to be violent in a frog suit. [Photo: P&G] 6. Wicked x Swiffer If you were looking to exemplify dubious movie-product collabs, you would have a hard time dreaming up something to top the special edition pink Wicked Swiffer. The hit Wicked movies, building on the acclaimed Broadway musical, have spawned scores of products and brand collabs, as is standard practice for blockbuster IP. But theres something the Swiffer sweeping its way into the spotlight of a witchy story thats irresistibly ridiculouspicture a witch zooming away on a sponge mop instead of a broom. [Photo: Oasis Official Store] 7. Oasis Bucket Hat In 2025, one locus of 1990s appreciation was the lucrative reunion tour of Millennial-favorite Britpop throwback rockers Oasis, making bucket hats one of the years Vogue-approved accessories. The floppy Gilligan-style bucket hat was part of the Gallagher brothers style, and apparently still is: Singer Liam clarified from the stage, its a bucket hat, to anyone mistaking his headgear for a beanie. You’re just in a sea of bucket hats, one concertgoer who paid $42 for an Oasis-branded hat told The Wall Street Journal, calling the effect hilarious. [Photo: L.A.B. Golf] 8. L.A.B. Putter Golf is not a sport known for sudden change or progressive innovation. All the more remarkable that one of 2025s most significant golf moments involved a weird-looking club J.J. Spaun used to sink a 64-foot putt that clinched the U.S. Open. Lie Angle Balance putters are designed to minimize torque, positioning the shaft directly into the instruments center of gravity, behind the head. This ends up looking like some sort of exotic barbecue tool, but their use has grown steadily on the tour and off, and this year was a breakthrough. Sales of the putter, starting at $400, are expected to triple, and a private euity fund backed by LVMH reportedly bought a majority stake in L.A.B. for $200 million. [Photo: Microsoft] 9. AI data centers While tech pundits seem to think a desirable AI wearable is imminent (and no, the Friend ragebait ads for a product that scarcely exists dont count), the most significant manifestation of AI mania are the data centers the technology requires. Microsofts Fairwater AI data center in Wisconsin has three main buildings totaling about 1.2 million square feet, its data storage systems five football fields long. Metas Louisiana AI campus, announced in 2025, involves over 4 million square feet of buildings, an industrial district of server halls, power yards, and cooling infrastructure. OpenAIs Stargate similarly immense data center in Abilene, Texas, in progress, may ultimately require 1.2 gigawatts of power. [Photo: PepsiCo] 10. Dust-Free Cheetos and Doritos With skepticism of processed foods becoming a rare point of bipartisan agreement, PepsiCo is among those adding more natural, health-conscious offerings to its lineup. The most startling experiment: versions of Cheetos and Doritos without their signature orange colorsand that weird, messy, but nonetheless iconic, dust. The new line, dubbed Simply NKD, isnt actually any healthier, it just doesnt scream industrial foodstuff anymore. Its a start? [Image: Oleksandr Pokusai/Adobe Stock] 11. The Button After years of swiping, tapping, and pinching, physical controls have started to show signs of a comeback. The touchscreen era has been particularly evident in auto designand so is the recent pushback. The data shows us physical buttons are better, Mercedes-Benzs chief software officer declared this year in the course of unveiling a more button-centric design strategy. Hyundai and Volkswagen are making similar moves toward bringing back buttons and knobs. The industry wont likely swipe left on touch screens altogether, but its acknowledging the attraction of physical controlsat least until the robocars take over. [Photo: cathup/Adobe Stock] 12. Labubu Those toothy, furry creatures hanging from everyone’s handbag werent a fever dream. The Labubu is very real, and the biggest collectible craze in recent memory. Created by Hong Kong artist Kasing Lung and sold by Chinese toy company Pop Mart in mystery “blind boxes,” the willfully ugly plush dolls became status symbols after K-pop star Lisa from BLACKPINK was spotted with one late last year. By 2025, celebrities from Rihanna to Kim Kardashian were clipping Labubus to their designer bags, turning the $22 accessory into a very lucrative fad. Pop Mart reported $1.9 billion in revenue for the first half of 2025up over 200%with Labubu accounting for a third of sales; an oversized version of the creature even joined the Macys Thanksgiving Day Parade. One theory of the Labubus appeal: the blind boxsales strategy as an antidote to an overly algorithmic world. As one marketing professor put it: Its fun, its uncertain, and its social. At least until the next trend comes along.
Category:
E-Commerce
Over the past several years, the art of the rebrand has increasingly become a spectacle sport. From cultural institutions like the Philadelphia Art Museum, which reportedly fired its CEO over a poorly received rebrand this year, to the furniture brand La-Z-Boy, which was widely praised for its modern revamp, the internets attention economy has meant that almost no notable rebrand is safe from social media’s deluge of hot takes. In 2025, that was more true than ever. Brands that rolled out a new look this year were scrutinized for everything from their font and color choices to the potential ideological implications of their visual pivots. In September, after the design firm Pentagram received major flack for its official branding of the city of Austin, partner DJ Stout told Fast Company, Its because of social media. Back when I first started about 40 years ago, nobody even knew what an identity system was. To close out the year, Fast Company asked seven design experts to choose one rebrand thatfor better or worsewill be remembered as the most influential of 2025, shaping both design and discourse in the months ahead. Heres what they told us: Cracker Barrels woke rebrand In a testament to the major impact of Cracker Barrels rebrand, two of the seven designers we contacted identified the brand as their top pick. News of Cracker Barrels rebrand initially emerged in mid-October, when the company unveiled a new color palette, typography, and plans to revamp its restaurant interiors. But what really stood out to fans was the brands new logo, which removed the former rendering of an older man leaning on a barrel, known as Uncle Herschel or the Old Timer, in place of a more modernized look. [Images: Cracker Barrel] In the hope of presenting a more contemporary image to the world and attracting younger and more affluent customers, they eroded the brand’s identity and character (literally: goodbye Uncle Herschel), says Matt Boffey, chief strategy officer at Design Bridge and Partners in the UK and Europe. Online, right-wing commentators framed the swap as a radical, woke move, with everyone from conservative activist Robby Starbuck to President Trump himself weighing in with increasingly negative takes. The backlash was so severe that Cracker Barrel lost nearly $100 million in market value in the following days (though it later rebounded). It publicly walked back the rebrand, reinstating Uncle Herschel and assuring customers that it would no longer move forward with restaurant renovations. [Photo: Joe Raedle/Getty Images] According to Stout of Pentagram, the unwanted attention around Cracker Barrels rebrand actually had ripple effects for the reception of his teams City of Austin identity, which was unveiled around the same time and similarly became the target of criticism for what he calls the logo mob. To be fair, I think the Cracker Barrel identity rebrand was nicely done and a much needed evolution, Stout says. The effort was unfairly judged by merely comparing the before and after versions of a single element (the logo) of the comprehensive identity system, which is the typical online parlor game of rebrand criticism these days. The complete identity system is smart and exactly what I would have donewhich is why I may need to think seriously about retiring. Stout adds that, in his opinion, the worst part of the whole fiasco was the fact that Cracker Barrel chose to revert to their dated, out-of-touch identity. That spineless decision by the parent company didnt acknowledge the months of thoughtful deliberation and work that went into the development of their new identity systemand it threw their design partner under the bus, Stout says. This knee-jerk reaction and the online mob mentality it has stoked is a concerning trend and detrimental to my industry moving forward. Walmart takes a trip into the archives Undoubtedly the largest company to rebrand this year was Walmart. The brand got its first update in two decades, courtesy of the design firm Jones Knowles Ritchie (JKR), which gave it a subtle facelift that amplifies its blue and yellow color palette and sprinkles in some callbacks to the companys 60s and 70s archives. [Image: Walmart] My favorite part is how that custom typeface is put to work, says Delta Murphy, an associate partner at Pentagrams Austin outpost. It nods to their past while still giving them room to grow, and that kind of balance is incredibly hard to pull off. Im not sure Id call it a trend as much as a principle of design I appreciate, but I get excited when rebrands tie into meaningful heritage and push into modernity, especially through typography. [Image: Walmart] Murphy adds that the Walmart rebrand actually hit a similar note as Cracker Barrels new identitythe difference being that Cracker Barrel got tangled up in politics and internet outrage, which stalled the roll-out before it could ever get off the ground. If I had one wish for the future of graphic design and branding, Id wish for more curious conversation and a lot less cynicism, she says. Cash App is not your moms banking app One undersung branding hero of 2025 is Cash App, according to Kimia Fariborz, senior designer at the global creative agency Further. [Image: Cash App] In March, Cash App introduced a new set of brand guidelines that brought playful motion elements and expressive graphics to the brand, making it feel more like an artsy, design-centric brand than a baking app. These broadened guidelines, Fariborz says, helped pave the way for Cash App to roll out new features throughout the year that represent how the modern customer is actually banking, like through bitcoin payment options and an AI assistant named Moneybot. [Image: Cash App] What I appreciated most is that Cash App embraces its reality instead of posturing as a traditional bank, Fariborz says. It recognizes the unconventional ways people use it and builds a tone that reflects that world. That honesty gives the brand permission to be vibrant and layered in a category that often defaults to seriousness. Grammarly gets a new name Nearly two decades after its founding in 2009, Grammarly traded its brand name in October in favor of Superhuman, the name of a younger, less well-known AI company that it recently acquired. The swap came alongside a massive brand overhaul designed to signal Grammarlys shift into a new era focusing on agentic AI. [Image: Superhuman] David Placek, CEO and cofounder of the firm Lexicon Branding, believes the change is bound to pay off. He notes that weve seen other companies reverting back to a component of their old name or debuting a new iterationlike MSNBC to MS NOW and Gannett to USA Todaybut Superhuman’s naming shift was by far the boldest. [Image: Superhuman] I expect this to be influential because Grammarly is extremely widely used today, but their name has always held them back a bit, Placek says. I think its a great call to action for companies to reflect on whether their brand name is stunting their growth and if so, to rebrand. Apple TV loses the + If Superhuman represents a major brand name swap done right, then Apple TV+s new identity as Apple TV, which was revealed in October, is an example of a small identity tweak that actually makes sense. [Images: Apple] When streaming first emerged as a new way to consume content, the Plus symbol became a ubiquitous way to let consumers know what kind of service a brand was offering. Today, though, streamers like Disney+ and Apple TV+ are recognizable without the extra punctuation tacked onso, Apple made the decision to simplify things by taking it out altogether. A month later, the company also unveiled a new Apple TV branding system created using practical effects. [Image: Apple] Matt Sia, executive creative director at the design firm Pearlfisher, says the update will have an impact on branding moving forward because it demonstrates a future-facing truth: when categories become cluttered, clarity becomes the differentiator. Instead of proliferating sub-brands and product names, adding bells, whistles (or ‘+’s), Apple pulled everything into one coherent idea, Sia says. He believes that consolidation will spark a wave of simplification across the industry, as others begin to question how they can reduce noise in their own positioning. Apple crafted an identity that feels more visceral and immediate. It doesn’t rely solely on software animation to convey emotion, but ensuring the logo, typography, and graphic system hold expressive power on their own, Sia says. Filming in an entirely practical way without relying on CGI sends a message that human touch and crafting experiences, using process and materials, still hold value. Gap gets its groove back This year, one iconic American company didnt rebrand in the traditional sense, but it did manage to completely turn its brand perception around: Gap, the apparel purveyor that, mere months ago, may have seemed like an outdated relic, but is now the fashion darling of Gen Zers everywhere. Gap x Sandy Liang [Photos: Gap] Gaps brand resurgence into the cultural lexicon this year wasnt a story of refreshing identity but one of reclaiming ethos, says Alexa DePasquale, head of strategy at the design agency CBX. The brand focused less on overhauling aesthetics and more on doing things in the world that doubled down on the core equities that once made it so iconic: essential silhouettes, American optimism, and visual language engrained in memory. Stand-out moves from Gap this year include aligning with Zac Posen, partnering with designer Sandy Liang, and bringing back the y2k jean through a collaboration with the pop group Katseye. All of these moves have resurrected the brand from the back of your childhood closet to the front of the cultural zeitgeist. Brands are recognizing that distinctiveness matters far more than novelty, and Gaps confident return to what only it can do proves why it is a staple, DePasquale says. Im loving the clarity that comes from the brands conviction to buck trends. More legacy brands will realize the power that comes from moving forward without abandoning the DNA that once made them inevitable.
Category:
E-Commerce
Nostalgia has been one of the dominant themes of 2025, from AI-generated scenes of the good ol days to the resurgence of analog hobbies. Retro, a friends-only photo journal, recently launched a new feature which taps into this mindset, turning your camera roll into a personal time machine. The Rewind feature, launched this week, resurfaces camera roll memories from this time last year. These are private to you unless you choose to share with others. People are taking more photos than ever but theyre actually doing less with them. Its almost as if those photos go into the ether, Nathan Sharp, cofounder and CEO of Retro, tells Fast Company. We built Retro to change that. Our mission is to bring friends closer and help you appreciate the important moments in life. The Rewind feature does that by surfacing forgotten photos and making it easy to share memories with the people who matter most, Sharp adds. On the app, Rewind can be launched from the end of the row of shared photos, or from the middle tab in the bottom navigation bar on the app. Users have the option to share or send the photos to a friend, or hide those theyd rather not see. Theres also a dice icon, which takes users to a random memory when tapped. The idea of dusting off old photo albums is nothing new. Facebooks On This Day feature performs a similar function, while Apple Photos has been known to make emotional slideshows of ephemera in its camera roll or surprise you with long-forgotten photos of an ex. Its not the solo nostalgia you get from apps built to store or manage photos. Its also not the same as social platforms that prioritize links and news over friends content, says Sharp. That’s the difference: we’re building for genuine connection with real friends, not algorithms, likes, or audience growth. Sharp, who previously spent over six years at Meta, founded the photo-sharing startup with Ryan Olson, Retros CTO, in 2022. Now with roughly a million users, Retro just hit #1 in photo apps in 12 countries, is the #1 overall app in six countries (including Germany, Austria, Finland, the Netherlands, Sweden, and Switzerland) above Instagram and ChatGPT, and is climbing fast in the U.S. It was also selected as a finalist for Apples 2025 Cultural Impact Award. The apps main function is sharing unfiltered photos of whats happening during your week with a private group of friends, or in shared albums. No public likes, algorithm-induced doomscrolling, or pressure to curate an aesthetic photo dump. A wider pushback against performativity and, in turn, surveillance culture, has internet users turning to online spaces and apps that exist beyond influencer culture, social clout and e-commerce. Here, the internet is restored to its original purpose: facilitating moments of authentic connection both ad-free and slop-free. Gen Z is actively looking for an alternative to algorithmic feeds dominated by influencers and brands, says Sharp. We see social moving toward digital sanctuaries where connection is easy and authentic, not performative. That’s what we’re building.
Category:
E-Commerce
Mad Max mode may sound like something out of a video game, but it is a real-life setting for cars currently plying Americas streets. And it poses genuine danger. In an homage to the main character from George Millers dystopian 1979 film and its sequels, originally portrayed by current Trump supporter Mel Gibson, Tesla created Mad Max mode as an option for vehicles equipped with its Full-Self Driving (FSD) system. The Mad Max icon is a mustachioed smiley face wearing a cowboy hat, bearing less of a resemblance to the films titular vigilante than to Tesla CEO Elon Musks brother, Kimbal. (Warner Bros., which released the films, has not filed suit.) Despite its name, FSD does not enable the car to drive itself. Rather, it is an advanced driver-assistance system (ADAS), capable of changing lanes, making turns, and adjusting speed as long as a human driver remains alert and ready to take over. Other automakers, such as Ford and GM, also offer ADAS systems. Mad Max mode is starkly different from other FSD settings like Sloth and Chill. Teslas using it will roll through stop signs and blast past other vehicles on the road. One driver posted a YouTube video showing his Mad Max-enabled Tesla hitting 82 mph while whizzing by a 65 mph speed limit sign. A social media user wryly suggested that Mad Max should just immediately write you a ticket when you turn it on. Tesla made Mad Max mode available briefly in 2018 and then reintroduced it in October. The National Highway Traffic Safety Administration quickly announced a safety investigation; the agency declined to give an update on its status. Musks company is not the only one programming its vehicles to treat traffic laws as suggestions rather than requirements. Waymos robotaxis (which, unlike ADAS such as Tesla FSD, do not require anyone in the front seat) have been spotted in San Francisco blocking bike lanes and edging into crosswalks where children are walking. In a recent Wall Street Journal story titled Waymos Self-Driving Cars Are Suddenly Behaving Like New York Cabbies, a Waymo senior director of product management confirmed that the company has programmed its cars to be more aggressive. He said that recent adjustments are making its robotaxis confidently assertive. Welcome to our brave new computer-powered future, where companies will determine which road rules are obeyed and which are ignored. We might not like what they decide. Mad Max, unleashed Traffic laws occupy a curious niche in the U.S., where most drivers break them regularly and without consequences. There is this built-in acknowledgment that going 5 miles per hour over the limit is okay, says Reilly Brennan, a partner at Trucks Venture Capital, a transportation-focused investment firm. In other parts of our life, that wouldnt be acceptable, like going 5% over in accounting or when a doctor performs some kind of task. Indeed, many otherwise law-abiding drivers occasionally change lanes without using a turn signal or double park while grabbing coffee, knowing that these behaviors are technically illegal, but believing they are unlikely to result in a crash or fine. Driving more than 25 mph over the speed limit is a different story. Most people avoid doing so unless, say, rushing a child to the hospital, given the risk of getting into a crash or receiving a pricey ticket. But unlike humans, robotaxis and ADAS can violate traffic laws regardless of situational context. Youve taken away the agency of the person to decide whether its reasonable to break the law at that time, says Phil Koopman, professor emeritus of computer science at Carnegie Mellon, who has studied autonomous driving extensively. Furthermore, companies like Tesla and Waymo may be shielded from the consequences of both minor and major traffic violations. The driver of a Tesla running FSD, for instance, is expected to remain alert and ready to take over, and the company claims that the drivernot Teslais liable for mishaps or collisions. You have a company deciding to break the law, but the driver is being held responsible and suffering the consequences, Koopman says. Last August, a Florida jury rejected Teslas attempts to pin crash responsibility on drivers alone, awarding $243 million to the family of a person struck and killed by a Tesla runing Autopilot, the companys less advanced ADAS. Tesla is appealing. Producers of fully autonomous software shoulder more responsibility for their vehicles actions than car companies offering ADAS. Still, accountability isnt a given for them, either. State law in California and Georgia currently does not allow police to ticket vehicles without a driver, though California will close that loophole next year. (A Waymo spokesperson said the company supported Californias change). Everyones a road warrior now Without liability for traffic law violations, companies may program their vehicles to take more risks. Tesla likely launched Mad Max mode to appeal to the companys hardcore customers, says author and podcaster Edward Niedermeyer, who has written a book about the companys history and is currently writing a follow-up. Tesla has a baseline incentive to release all kinds of weird, quirky, unique software updates that cost them almost nothing and fuel their online fan base, he says. Mad Max mode is an example of that, and it happens to also reflect the companys casual attitude toward public safety. Waymos robotaxis do not behave nearly as aggressively as Teslas running Mad Max. But the company faces an incentive to turn its assertiveness dial up a bit, if only to match the expectations of its paying passengers, who have become accustomed to violating traffic laws when they themselves sit behind the wheel. Driving like your grandmotheras writer Malcolm Gladwell described his Waymo passenger experience in 2021isnt exactly a juicy marketing line. Consumers think that these systems should drive the way they drive, Brennan says. Some circumstances clearly call for rule-breaking, such as moving across a double yellow line to navigate around a moving van that is being unloaded. What weve learned through more than a hundred million real-world miles is that appropriate assertiveness is crucial for safety and traffic flow, says a Waymo spokesperson. But other situations are trickier, such as dropping someone off in a crosswalk or bike lane when no parking spot is available. These behaviors may be common practice among human drivers, but they can endanger other road users and certainly inconvenience them. Last year, Waymo received 589 tickets for illegal parking in San Francisco. But the public may have limited patience for computer-powered cars that bend traffic rules or cause collisions. Researchers have found that people are more tolerant of risk in activities they can control (like driving) than those they cannot (like robotaxis). Case in point: A recent outcry erupted in San Francisco after Waymo vehicles ran over a cat and dog. Of course, countless American pets are killed by human drivers, including the estimated 100,000 dogs who die annually after being placed in truck beds. These tensions will not dissipate anytime soon, given how furiously makers of ADAS and autonomous vehicles are working to win over customers. Brennan envisions a future where riders might choose from varying levels of robotaxi assertiveness. Right now, there is just one Waymo setting, he says. But in a few years, there may be three or four settings, and one of them is almost exactly like the way that you want to drive. For that to happen, humans will have to grow accustomed to self-driven cars zooming past speed limits and playing chicken with pedestrians in crosswalks. Companies are designing their autonomous systems to reflect how humans drive, for better and for worse.
Category:
E-Commerce
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