The Fallout (2021)

This film was written and directed by first-timer Megan Park and it's a gripping look at the aftermath of a school shooting in America. Rather than focusing on, or even showing, the violence itself, it depicts the mess left behind for our two main leads - the grief and the ‘survivor’s guilt’ felt by those who made it out alive.

Jenna Ortega plays Vada Cavell, a spunky, well-adjusted schoolgirl. One day, whilst at school, she drops what she's doing to take a call from her little sister, Amelia, in the toilets. Whilst there, she bumps into Mia (played by Maddie Ziegler), a popular and seemingly distant person, locked into her dancing activities.

While they are in there, the sound of screaming and gunfire erupts in the building within earshot. The two of them suddenly panic, realising what must be going on, and lock themselves into a cubicle together. They are soon joined by Quinton (played by Niles Fitch), who runs in covered in his brother’s blood. The three of them huddle together, terrified and silent, for several minutes while the shooting occurs off-screen.

The incident passes, but in the weeks following the tragedy, Vada is unable to return to normal. She becomes emotionally detached from her family - her supportive mother, dappy father and confused younger sister. However, Vada and Mia form an intense bond following that shared, panic-laden experience, becoming accidental friends. They feel they are the only ones who really understand each other.

Things go from bad to worse as Vada begins experimenting with ecstasy and alcohol to cope with her mounting anxiety. She and Mia eventually share a romantic moment, though it’s more of a desperate attempt to feel something - anything - rather than a traditional romance. While Vada's friend Nick becomes an activist for gun control, Vada feels guilty because she is stuck where she is and cannot find the strength to do anything helpful.

Vada’s repression eventually cracks and, after a series of reckless decisions and a big argument where she accidentally scares Amelia, Vada finally has a breakdown with her father. He takes her to an open field where they scream at the top of their lungs, allowing her to release some of the pent-up terror. She begins to reconnect with her family and starts seeing a therapist. She also agrees with Mia that while their bond is forever, they need to find a way to live in the real world again.

This layered film is hauntingly realistic and Ortega is powerful and convincing in the lead. It's certainly more of an emotional character study than a straight story, but it deals with a topic which seems to be more of a problem as time goes on, particularly in the 'free' West. Makes you wonder, eh. It's poignant, dark and thoughtful - and alongside Ortega, the whole cast do a great job in support.

Not showing the violence was a masterstroke, I reckon, as it gives the audience a close-up, first-hand insight into the tension, anxiety and terror that would be felt by anyone thrown into that situation. The script is great and the original score, by Finneas O'Connell (Billie Eilish's brother), is certainly worthy of inclusion. The Fallout is very much about what happens after such an event and why survivors need support.

The end of the film provides a surprise but says a lot about the situation too. How can people be expected to move on? Can they really ever get 'closure'? Or should people, as per the old-fashioned 'stiff upper lip' mentality, pull themselves together and 'get over it'? However you view that, this makes for an interesting film, even if you're only in it, at the outset, like me, to gaze upon pint-sized cutie Jenna!

Now for the bad news - it's one of those 'locked-into-America' films which is quite difficult to get hold of. It’s five years old now and has had limited release outside of the USA. You might have to resort to importing the DVD or scouring eBay, heading for a VPN, the BFI Player, Mubi or waiting for it to turn up on terrestrial TV. I wish they wouldn't do that! Let us all enjoy it easily, sooner rather than later, please!

Motorola Signature

Outside of the Razr 60 Ultra, this Signature, released in January 2026, feels to me like the first real flagship Motorola phone since the Edge 50 Ultra in 2024. I never had hands-on with that model, but I did have an Edge 50 Pro and currently still have the Edge 60 Pro - so plenty of angles and devices to compare with, even if not that Ultra. Still, it's great to have the Signature in-hand and more importantly, enjoy Moto's latest and greatest with some important landmark changes for the firm, which I'll come to later.

The RRP for the Signature in the UK at time of writing is £899. That's certainly into flagship territory and buyers paying that should rightly expect a lot - and step-up from the upper-end mid-tier phones, like the aforementioned Edge 50 and 60 Pro units. The Edge 50 Ultra on release was £1,049, so a bit more, but it did come as standard with 1TB storage. This amount is available (in some markets) on the Signature, but most supplied seem to be the 512GB version.

Having said all the above, it doesn't take long for the price of Motorola phones to come down and it's even worth looking out on Moto's website to see if there are bundles, deals and sales. Or buy second-hand. It can't be long now before those early-adopters are onto the next thing, so keep an eye on the usual outlets. But that's jumping the gun a bit really as I haven't yet discovered, nor shared with you, whether or not it's worth the hunt! Stick around then whilst I do so.

I have been able to secure the Signature in Pantone's Martini Olive colour and I do rather like it (as I'm sure fans of 007 James Bond will)! I think that I certainly prefer it to the boring 'carbon' colour - which is much more conservative and businesslike. They both, though, have the same linen/fabric/cloth back on them in their respective colours and it really is a nice feel. It's the first thing that you notice when pulling it out of the chargerless slim box. However, it is still too slippery for my hands - yours might get better grip, maybe if they are younger! As we know by now, it's all the trend not to supply chargers, be it claims of eco-friendliness or compliance with EU laws. Of course, these firms will happily sell you one! I guess that the cloth back helps to keep the phone surprisingly light, at 186g over the 50 Ultra's 197.

Alongside my Edge 60 Pro (which I'm using to do the copy/restore as it's fully-loaded, signed into everything with all my data on it), it's a little wider but all-but the same height. Physically it's a couple of millimetres taller and wider, but it doesn't look or feel it in the hand. Or look it when they lay next to each other. The Signature is certainly slimmer though at 6.9mm over the Edge 60 Pro's fatter 8.2mm. One of the things which makes it look different from the front is the Signature's more subtle quad-curved front edges. The primary benefit of this, as it was for the Honor 400 Pro, with the provided case with the bottom clear cutout (which I'll come to), is the gorgeous way in which the finger slides over the navigation button, Circle to Search, access to Recents and all those up-swipe gestures. It works like an absolute charm and until you try it, it's hard to describe the difference it makes.

The Edge 60 Pro is no waterfall, but it's clearly markedly more curved left and right. The Signature is also more 'square' in the corners, maybe for the same reason as above, than the more gently curved corners of the Edge 60 Pro. It's all quite subtle - but the Signature, in this respect, reminds me very much of the old Nokia 7 Plus from 2018. It is a big phone, there's no doubt - and I shall try hard to love it, but if anything is likely to put the kibosh on the deal, this will be it.

In the box we get a hard, plastic case with a Qi2 magnet ring on the back (for what it's worth). The case fits like a glove, gripping the edges with cutouts for anywhere that there's buttons or ports. I like this very much more than plastic-covered 'lumps' which most cheap cases now seem to have. It's nice that you can feel the buttons as they are, not through plastic, and that you can get the case on/off whilst the charging port is in use. Little things. I have one test Qi2 charger disk with a USB-C cable attached and I did plug it in and put it on the back of the case. And it works. Woopy doo, eh! I still see no reason for all this magnet stuff which Apple cooked up to sell peripherals - with the one possible exception being the dashboard of a car, for those who have one. Which I don't. I have never had any trouble sitting my phones on a Qi Charger cradle, nor struggling to make a connection. And I'm not sure why I'd want to put a wallet on the back of a phone, making it fatter. I suppose there might be a case for a powerbank to connect it to, to save having a cable - but all this magnet stuff feels like a stretch to me.

There's the usual books and papers in the box, SIM Card Tray tool and USB-C to USB-C cable ready for the 90W charger you buy from Moto for another fifty quid. Except that they don't sell 90W TurboPower chargers that I can find - only 125W or 68W. Fortunately, the USB-C to USB-C cable in the box is a 6.5A version and so will get the 90W speed if the 125W charger is purchased (otherwise it would be capped at 60W). Finding a 3rd party charger to get 90W charging is difficult - like other OEMs these days it seems, you need to really buy Moto's gear to attain it. It's all a bit complicated but yes, like I found with VOOC chargers for BBK Group phones, you really have to use their own gear to top out those speeds. I have a UGreen 100W GaN charger here - and it still will only reach 60W. Way of the world, I guess.

This unit is a single nanoSIM + eSIM unit and the suitably capped-one-side SIM Tray confirms that. Depending on region/operator/supplier your mileage may vary on this. Mine is a SIM-Free model bought directly from Lenovorola in the UK. That SIM Tray sits on the bottom of the phone to the left of the USB-C port, which is, in turn, to the left of the 'right' speaker of the stereo pair. Unusually for Moto, the other one is up top, so top-firing and not front-facing doubling up the earpiece for calls in what has become the common way. So sound fires out top and bottom. We'll come to that. Next to the 'left' speaker is the now-usual Dolby Atmos branding and a couple of microphones.

On the left side of the phone is the MotoAI button, which, again, we'll come to - and on the right, volume up/down rocker and power/assistant button. All the buttons feel firm and solid. Turning it over, we find that aforementioned cloth back and a sizeable camera island, top-left, in portrait. There are four circles on it and we'll identify their functions later. The Olive version of this phone has gold accents and that continues onto the camera island which has a kind of stripey, etched look. The gold-coloured accenting continues around the perimeter of the phone, aluminium right around, with antenna cut-outs and microphones dotted here and there. It's a classy look and though there's a risk of it coming across as 'bling', I don't think it does so because of the olive green colour toning it down into a muted, pastel shade.

In terms of ingress and robustness, the phone is rated IP68, IP69 and has the MIL-STD-810H certification. The 50 Ultra nor 50 Pro had this level of protection. The 50 Ultra did have a wooden back option, by the way, which seems to now only have been ported to the top-end Razr by choice. The front glass is also more robust than previous models, now Gorilla Glass Victus 2 instead of 1. The front panel, as I said above, is all-but flat - with those classy, subtle edges - and is an LTPO AMOLED one, over the 50 Ultra's P-OLED. One big difference for me there is that it allows for the refresh rate to drop very low and enables Moto to include a proper Always on Display, like the Edge Neo phones and Razr models, rather than the older Peek Display. The refresh rate goes all the way up to 165Hz in some gaming/selected apps that can make use of it properly - the 50 Ultra this was capped at 144Hz. And the large 6.8" screen is bright (peaking at 6,200nits), colourful and vibrant as I have come to expect from Moto. The ratio is 20:9 and pixel count 1264 x 2780, returning 446ppi.

One of the things that Moto seems to have arrived with and caught up the leading pack with now is attention to detail on OS updates for phones. I think I'm right in saying that this is the very first phone which they have promised to give 7 OS updates to (5 was previous maximum with the Edge 50 Neo and ThinkPhone 25), landing on Android 16 and going all the way to Android 23, and the same for years, for security - so presumably to January 2033, which is some stretch ahead. The Edge 50 Ultra is (and was) way behind this, like most other Moto phones, with 3 OS updates and 4 years of security. If you're reading this you probably know that Motorola has a reputation for laggy updates all-round, so we'll see how they stick to these promises.

There's been quite a hike in chipset too from the 50 Ultra which had the Snapdragon 8s Gen 3, this one now very nearly top of the current pile with the Snapdragon 8 Gen 5. We'll do some gaming later and see how it holds up. I haven't seen a 256GB version of the Signature, but apparently in some regions it is in the pile, most seem to be 512GB and either 12GB or 16GB RAM. This one has 512GB Storage and 16GB RAM. There's also a 1TB version, to match the 50 Ultra, but again, I haven't seen that in the UK yet. The storage across the board is UFS 4.1 (up from 4.0) so read/writes on internal storage are nice and fast - and, of course, there's no microSD Card support here so choose (if you can) your model carefully. I do think that 512GB really is enough for all-but real fringe users/cases.

The stereo speakers are very, very good. Not the absolute best I've heard, but up there with the impressive Razr 60 Ultra's. They are certainly very loud and the quality of output, tweaked with the included Dolby Atmos settings, is, yes, very, very good. Turn off the Dolby Atmos and wind the volume up to 100% and sure, it gets a bit less rich - and as usual with speakers on phones it sits more happily at about 80% volume. But yes, engage Dolby and 100% is fine. The soundstage is wide, compared to many, when up to 2ft away from the face - helped in no small part, I'm sure, by the aforementioned placing of the speakers, top and bottom rather than earpiece-front and bottom.

There's no 3.5mm audio-out for head/earphones of course, but actually, armed with a USB-C pair, the output is terrific and apparently the partnership with Bose and Qualcomm's SnapDragon Sound make it so. For those fed up with tripping over wires, there's Bluetooth 6.0 which, as we say time and again, is nothing short of fabulous these days. We have 24-bit High-Res and High-Res Wireless certification in the mix too and again, for those who want to tweak there's the usual version of Dolby Atmos - not quite the all-singing/dancing Sony Xperia version, but plenty to twiddle with to make the sound one's own. Paired up with my Marshall Monitor III set, Moto Buds Loop, Moto Buds+ or Sony XM4's the sound is phenomenal. But to be fair, as intimated above, it probably would be so with most phones these days with constant advancements in Bluetooth.

The battery is a Si-C 5,200mAh unit, a hike up from the 50 Ultra's non-Si-C 4,500mAh. On initial testing it feels as though it's pretty good, though not up to the performance of the Si-C 6,000mAh battery in my Edge 60 Pro. I guess that stands to reason, given that the latter has a bigger cell, more power-efficient chipset and less screen to drive, apart from any other factor. But yes, it is a shame that the same one couldn't have gone into the Signature to make it even better. First tests on my 10% Reading Test returns about two and a half hours, so not up there with the 'over 3 hour' brigade, but certainly far from bad and very usable.

My average use for me test certainly gets me well into Day 2 if needed, even with the Always On Display on 24/7. So, again not up there with the 2-into-3 days phones (think Moto's 'Power' branded units) but certainly not a problem for the vast majority of people. Don't forget that these are my tests, based on how I use my phone routinely. I have been applying this same series of tests now on all the phones I review for, well, decades - so even though they might not reflect your use and mileage, my playing field is level so I can comment about it in relation to my use of hundreds of devices over a long time.

We have, as mentioned above, 90W wired charging (with the right gear) which is a drop from the 50 Ultra's 125W but I think that once you get up into that territory, the difference is of little consequence. If you want fast wired charging, I'd suggest coughing up the £50 for Moto's 125W charger and be done with it. As for me, I'm happy with wireless Qi charging - which is does at the same 50W rate (with the right pad) as the 50 Ultra did, supports 10W reverse-wireless and unlike the 50 Ultra, even 5W reverse-wired. With the right wired charger, you can expect a full charge from flat in not much more than half an hour which, is, surely, fast enough for most!

I've left it long enough now to not talk about the killer-feature for me and the sole reason, had it not been here, that I wouldn't have bought the phone (over my Edge 60 Pro) over - yes, the Always On Display! It's hugely important for me and I'm annoyed and irritated if the phone I have is without. Motorola have, for some time been championing their Peek Display instead, which certainly has its merits, but with the arrival of the recent Razr devices, Edge Neo units and ThinkPhone 25 (which is really a rugged Edge 50 Neo), they came along. And a good one too. Bright, big, clear and always useful. I'm not sure why it's so important to me, perhaps I'm shallow (no, don't take a vote on it!), but being able to glance across the room to check the time, day, date, weather even - and notifications simply feels essential (for my use of phones). Some phones, apparently, released in other regions, did have LTPO displays giving Moto the confidence to put an AoD in (Edge 60 Pro in India is one, I believe) but UK releases (including my Edge 60 Pro), no chance. Many of these OEMs seem frightened of battery use if screen refresh-rates can't get down to 1Hz. Yes, I know, you can add an AoD app - and I have spoken about this in my quest - some very good, some not so good, some sipping battery, some caning it - but there's nothing like a built-into ROM one. So yes - I'm delighted with that. And for anyone who isn't bothered, they can turn it off! Wonderful choices in the Android world.

A Motorola with an Ultrasonic fingerprint scanner? Is this a first? I do think that it probably is - and not only for Motorola but also their 'mother' firm, Lenovo. The latter have plenty of scanners in laptops, but they're all capacitive ones as far as I know. So this really does seem to be a first for Lenovorola! And they're done it every bit as well as Samsung have been doing for years now. They got there in the end, it seems! Personally, I think I still prefer a capacitive scanner on the side or back of a phone, like the Razr, but if we're going in-glass, you can't beat this. It's clearly much better than the Optical one on the Edge 60 Neo (even though that was certainly good-enough) and takes it all up a notch. Hopefully, Ultrasonic (and AoD) will now been used more widely by Moto, even in non-flagships.

Connectivity seems as sound as a pound in my testing. Wi-Fi 7 is present again making connection to various routers perfectly good, GPS tested with various mapping and tracking services/apps and all locking quickly and holding on as expected, NFC I tested down at Tesco and it worked like a charm and Bluetooth, as I said earlier, works really well - the range seems good with my test gear too. There's UWB present too for those who can use it and also the same USB-C 3.1 Gen2, OTG, DisplayPort 1.4 as the 50 Ultra - meaning that however good wireless might be, it can be cabled up to a TV, Monitor or PC etc. to get streaming anything you like to anything you like even without a network. Including Smart Connect.

The MotoAI button is on the left side, just in the right place, not confusing the right side near to the power button (looking at you Nothing Phone)! The button can be assigned actions for press-hold and double-press. Press and hold for MotoAI (or nothing), double-press for Update me, Take notes (or nothing). You can assign the power button on the other side for MotoAI if you like, or the usual power menu or (other) digital assistant (whatever your default is). On all of these there's now a slider for press-and-hold duration preference. You can also assign Android's own Quick Launch (so double-tap the back of the phone) to anything, pretty much, including (yet) another way into MotoAI - they want us to use it! I've written about MotoAI before and I think most of it is pretty much the same since I did, so do follow this link for a rundown of the features and how it all works.

I have written about Smart Connect before (and Ready For before it) and working with a PC this is where Moto leapfrogged Samsung's DeX by continuing to support Windows software. Install Smart Connect on Windows and you have a full Desktop computing environment driven by your phone. Now, one could argue that if you've got Windows in front of you and universal tools like Motorola's Phone Link, Google's Messages for Web and Quick Share, why do you need the Windows software (in terms of productivity and functionality). And this may have been the point that Samsung got to as they claimed few people were using their Windows software. But I like Smart Connect! Long may it live, I say!

Inside this, we have a Messages portal, a Screen Share (wither Mirror or separate instance), using the phone as a webcam for webinars or whatever instead of the likely rubbish one in a laptop, creating a complete Mobile Desktop able to hijack the mouse and keyboard, using the phone as a Hotspot for getting connected, file management on the phone with hot-drag-drop, Cross Control to use other devices around the periphery of the PC with free-flowing mouse and keyboard hot-swapping between devices (like Second Screen for Windows), an echo of the photos on the phone, notifications, even app streaming - so run an app on the phone but control it on the PC - and loads more! It's a veritable playground of opportunity and I love it!

We continue to get all those good gesture functions with Moto of course, face unlock, lift to wake, 3-finger screenshot, chop-chop for torch, twist-twist for camera, sidebar with pop-outs, split-screen, pick up to silence, Attentive Display, fairly deep personalisation of fonts, icons, themes, colours, lock screen clocks, fingerprint animation, wallpaper and more. Long-press the home screen and enter a world of tweaks, personalisation, widgets and choices. It's just great to see someone continuing with the way things were, with only small adjustments for the better, not following the herd. (I'll come to that shortly!)

There is one enhancement over previous with the lock screen clocks, which used to give 3 options, but now there's 13 and each can be adjusted for font and colour as well. Moto continue their focus on privacy and security with a plethora of options, scans and adjustments. Secure folder, App lock, SIM lock, PIN pad scramble, scammer stuff, emergency alerts, eye protection stuff, Digital Wellbeing, various modes and so on. Some of this is Android's own with Android 16 but it's also clear that Moto have added their own suite as well and on top of that.

What I particularly like about the UI though, even with Android 16 onboard, is that Moto are not following the pack, like other sheep after Apple features. An annoying number of (particularly) far-east OEMs are including little features like Control Centres and dual drop-panels for Notifications, illegible battery percentage stuck inside a stupid little battery icon and a load more. Moto resist this and keep to their own design language which deserves huge kudos. Well done Moto. I do like some of what Google has done with Material 3 Expression, particularly on Pixels, but it's clear from Moto's implementation of (especially) Android 16 that OEMs can go/keep going their own way if they want to. Hurrah!

Now to my least favourite part of any review I do - the cameras! Unpopular as this might be as I know that for most tech reviewers (and possibly users) it's at the other end of the priorities list! But they often forget the 1,001 other things phones can do and only seem interested in cameras, driven by the industry's focus. Cameras that are usually outgunned in almost every department by a proper compact camera, much cheaper. Anyway, here we go! The main camera is a 50MP f/1.6 unit with OIS, it's supported by a 50MP f2.4 3x periscope optical zoom, again with OIS, a 50MP f/2 wide-angle lens with autofocus and for video it can shoot 8K@30fps, 4K@120fps and 1080p@240fps. There's a 50MP f/2 Selfie with autofocus and for video the Selfie can shoot 4K@60fps and 1080p@240fps. So that's the tech-spec out of the way!

I think that the one standout feature that I was impressed with over the array of other Camera options was the 'gimbal' type function which can be used for shake-free video recording. They call it Horizon Lock and it's designed to keep the video footage perfectly, well, nearly perfectly level even if the phone is rotated, jogged or tilted during shooting. It can be used in landscape or portrait in 4K@60fps or even 8K@30fps. It's baked directly into Moto's Camera App so available to any user of the phone. I don't think that it's on any other Moto phone yet, but yes - impressive. We shall see later this year how much, if at all, the forthcoming Honor Robot phone pulls off the same trick with a sticky-out element instead of built-in, like here. I have to say that even as someone who never shoots video these days, when I was testing it, it really is rather good and well executed.

Otherwise, the camera setup is not really that different from the 50 Ultra's - tweaks and improvements here and there. I do like the simple and clean Camera app by Moto here, as usual, offering an uncluttered view with the sliding 'row' of shooting options with 'More' at the end for less-used items. There's also an option to open up the camera in the last shooting mode rather than going back to the default each time, which is a nice touch missing from many. You can drill down into settings for loads of tweaks like those hideous watermarks (otherwise known as manufacturer adverts on every photo), digital processing of long zooms, auto-capture (like smiles/palm triggers) and more. The Pro mode lets you control most of the elements manually and in Portrait mode there's even an f-stop adjustment for aperture. It's all smoke and mirrors of course, software processing.

More on the camera app with Night Vision, which in my testing here seems to do a decent enough job for when stuck, turning apparent pitch black into at least something to see, Time lapse, long exposure, Panorama - you know the routine. The close-focus always used to be best with the wide-angle lens with autofocus on Moto phones, which it can still do here, but to be honest, for my uses, I think you get a better result now via the telephoto lens. Certainly closer, if maybe not as good quality (for those likely to use photos for anything more than social media sharing). And this is clearly what this is all about with these consumer cameras-in-phones. They know that 99% of photos taken will just be posted online and viewed on tiny screens, so it really doesn't matter much. If you want more than that, buy a camera!

In order to give you the best overview (and not to upset readers with my negativity), well, better than from me anyway, I shall do my usual trick of sending you to our friends over at GSMArena and their blow-by-blow review with samples aplenty which starts here. Do please support GSMArena as they provide great data and a relentless review cycle of anything that is released globally and in China if they can, and what's coming, as well as all the top, current industry news. The short version is that they are pretty impressed with the main cameras for stills, but think that the video could be improved. But dig in and read for yourself - or watch their review video.

So, in summary, what we have here is a true Moto flagship again, the first slab phone one since the Edge 50 Ultra. Some of the other mid-range phones in the interim have been great - but they're not flagships. This is. And it feels so. It's very fast, the battery is very good, the screen is gorgeous, there's a proper AoD, the camera setup, I'd argue, would exceed the expectation by a long way, of 98% of users, the innovative design of the back of the phone makes it unique out there, the Olive colour is lovely, it's robust and certificated for such, the AI is smart and fun to use, loads of storage, loads of RAM, 7 years of support with updates, very, very good speakers and wired audio output, the wonderful Smart Connect (even wired if needed), great connectivity, a wonderfully 'traditional' UI and even Moto's first ultrasonic fingerprint scanner that works beautifully. What's not to like, I wonder!

Well, some may not like the price at £899, but actually, given all the above, I honestly do think that's a fair price. It's a beast of a phone that pretty much does everything - and if you want to save a few pennies, yes, Moto and Lenovo often have sales - but even on launch the phone was bundled with a Moto Watch Fit, Moto Buds Loop and Moto Tag. I think the deal has now been changed to include the newer Moto Watch and oh, yes - hang on - I forgot to mention the Moto Pen Ultra! Probably because nobody seems to be able to get hold of one yet, including me! It's costs another fifty quid but it does look nifty. It's Bluetooth, comes in a sleek case, USB-C charging, can be used on the Signature or forthcoming Razr Fold, apparently has palm rejection and lets you annotate over the top of pretty much anything, I think! When I can get my hands on one I shall be sure to update my Blog here with findings.

So far, I'm loving my Signature - might even be the best Moto ever. And I've used most of them over the years! I'm unlikely to part with mine and look forward to 7 years of fun and productivity. Recommended.

The Housemaid (2025)

Directed by Paul Feig, this film is an adaptation of Freida McFadden’s novel of the same name. The story leans heavily into the 1990s-style domestic thriller. The Hand That Rocks the Cradle springs easily to mind, where the tension and action are contained almost entirely within the home.

Sydney Sweeney plays Millie, an ex-con out on parole - a fact we learn early in the tale - who is desperate for a fresh start. Living out of her car, she is struggling to find work to satisfy her parole officer and avoid being sent back to prison to serve the remainder of her sentence. She eventually lands a job as a live-in housemaid for the wealthy Winchester family. Upon arrival, she introduces herself to Nina (Amanda Seyfried), wife of Andrew. There is also a sinister-looking bloke in the garden who doesn't say much.

Nina engages Millie for the post almost on the spot. Millie is shocked to get the job, assuming her lack of references and criminal background (which she doesn't declare to Nina) would disqualify her. On her first day, Nina introduces Millie to her daughter and husband, announcing that Millie will be moving in. Andrew clearly knows nothing about this but, appearing surprised, goes along with the decision. An immediate chemistry between Andrew and Millie is laid out for the viewers to soak up!

Once she moves in, Millie begins her duties, which include helping to look after the spoilt-brat daughter, Cece. Millie's room is in the attic - a secret space that Nina claims used to be Andrew’s storeroom. Millie tries to open the only window, but it won’t budge. Almost immediately, we see Nina behaving erratically - shouting, screaming and threateningly blaming Millie for things she hasn't done. Andrew eventually calms her down and apologises to Millie. After finding a hoard of prescription medication bottles in the bathroom cabinet, Millie begins to see Andrew as the peacemaker. One day, when Nina fires Millie in a fit of rage, Andrew mediates and tidies up the mess.

Partway through the film, after focusing primarily on Millie, the emphasis switches to Nina, and we begin to learn about her background. Then it is Andrew’s turn, as his domineering mother arrives to ensure he knows his place within the family and its wealth. The rest of the plot is difficult to discuss without spoiling the numerous twists and turns, but it is a neat enough ride. It possesses all the elements of a decent thriller, keeping the viewer focussed for the duration of its two-hour runtime.

As you will have gathered by now, this is a story of victims and villains, survivors, tragedy and abuse. Some elements are somewhat predictable as the tale unfolds. I felt that the character of Andrew’s mother could have been utilised more effectively, but generally, the characters remain solid. Apparently, in the book, Andrew's mother is far creepier than she is portrayed here. There's a couple of steamy sex scenes in the mix, as you'd expect with Sweeney in the cast!

Seyfried captures that fragile-but-calculating element very well, while Sweeney plays the desperate but dangerous role slightly less convincingly - but decently enough. Ultimately, it is a mystery-shrouded thriller that relies heavily on a house with dark secrets to tell. It is violent and bloody in places, but the real focus is on determining who is who, what roles they are playing beneath the surface - and unpicking the plot before it is served up to you. Which you probably will! All good fun and it's now starting to arrive on streaming services in the UK.

Father Mother Sister Brother (2025)

This Jim Jarmusch (Paterson, Only Lovers Left Alive) film is (apparently) a 'triptych' entitled Father, Mother and Sister Brother. Each set in a different country and exploring the idea that we never truly know who our parents are, or were, before we existed, or even now. It feels like pure arthouse to me and is conducted with the mellow, lazy pace of the brilliant Paterson (which, as a bonus alongside Adam Driver, featured a great performance by Golshifteh Farahani and is a must-watch). So, three parts, three stories, with some overlaid common themes - think Kieślowski’s Three Colours trilogy.

The first part, 'Father', takes place in New Jersey, USA. Siblings Jeff (Adam Driver) and Emily (Mayim Bialik) visit their reclusive, dishevelled father (played by Tom Waits). They worry that he is hard up for cash, depressed, and isolated - especially since their mother died. Jeff, clearly wealthy, slips him money and brings expensive groceries against the wishes of his sister, who looks on disapprovingly. Prior to their arrival, however, we see the father purposefully making the place look chaotic and untidy.

Next, we're off to Dublin, where romance novelist 'Mother', played by Charlotte Rampling, is preparing for a visit from her two daughters, Timothea (Cate Blanchett) and Lilith (Vicky Krieps). This seems to be an annual ritual involving a frightfully upper-class afternoon tea. There is a real, loving warmth between the two sisters, but with the mother, the atmosphere is cold and intellectual. Lilith is a wild, free spirit in a relationship with another woman which she actively hides, even lying about her career success. Timothea is the 'upstanding' daughter and receives more respect, but they all essentially hide their true selves behind etiquette.

Lastly, we head to Paris for 'Sister Brother', the warmest segment of the three. Twins Skye (Indya Moore) and Billy (Luka Sabbat) reunite at their parents' apartment after they die in a plane crash. As they clear out belongings, they discover there was much about their parents they did not know. While the first two stories are awkwardly stiff, the absence of parents here brings a sense of closeness and kindness between the twins.

As I mentioned, there are themes running through the film. For example, Rolex watches. Father claimed his was a fake, but Emily knew it wasn't. Lilith claimed hers was real, but then exposed herself as a fake. There are skateboarders in every story - young men, possibly depicting freedom in contrast to the masks worn by our characters trying to project/deny success or poverty. There is also the recurring question of whether a 'toast' can be proposed with water or tea as opposed to alcohol, as if nobody truly knows the 'rules of engagement' with one another. It certainly brings to mind the lamps, pens and little old ladies' bottles of Kieślowski.

I didn't realise that Jarmusch was a musician with a band, SQÜRL. Here, he collaborates with Anika (Annika Henderson) to create the score. The atmosphere of the final segment is heavily influenced by her post-punk, avant-garde style, which fits the arthouse vibe perfectly. Driver, Waits, and Blanchett are as solid as ever, though not really stretched. It is nice to see Mayim Bialik outside of The Big Bang Theory and Moore and Sabbat provide the required warmth for the final act. However, I think Charlotte Rampling steals the show - her performance is simply perfect.

It’s a laid-back film that makes poignant points about life. The long pauses between dialogue reflect the distance between people who don't truly know each other. It is a beautifully told story in three parts. You might have different takeaways, but this is what I grabbed. Treat yourself and watch it when you can.

War Machine (2026) - A Guest Review by Chad Dixon

This Netflix film is a Predator-inspired military action drama directed by Patrick Hughes. It stars Alan Ritchson (known mainly for the Reacher TV series) as a no-name US Army Staff Sergeant whom we first see during the Afghanistan conflict when his small convoy of engineers comes to help a friendly platoon and fix its broken-down vehicle. We soon see that the head of that group is his brother, played by Jai Courtney, whose name is also not spoken.

As Ritchson finishes off the repair, the two talk of their mutual wish to become US Rangers and vie to join RASP (the Ranger Assessment and Selection Programme) together as soon as the current conflict is over. As Ritchson returns to his vehicle, a direct Taliban missile strike hits both convoys and there is a big conflagration. Later, he comes to with an injured right knee and sees destroyed vehicles and burnt bodies all around. He hobbles towards his brother's inert body and finds him alive - barely.

Cut to two years later and we see the Staff Sergeant in a parade of mainly younger Ranger candidates on the first day of their eight-week programme at RASP. He is given the designation "81" by First Sergeant Torres (Esai Morales) who, with the camp's Sergeant Major Sheridan (Dennis Quaid), gives the assembled candidates a stern speech regarding what is expected of them to complete the assessment and become a United States Ranger.

Cue the usual training montage where 81 - who at 6'3" and built like a human tank towers over the majority of his co-candidates - consistently outdoes them but stays aloof during meals and downtime. At night, and occasionally during particularly gruelling trials, he still has harrowing flashbacks to when he and his brother were attacked in Afghanistan. This plays on his mental health. Also, intermittently, we see reports on the TV news of an asteroid that has entered the inner solar system and seems to be behaving quite oddly compared to previous extrasolar objects, as it appears to be getting closer to Earth.

As the remaining candidates go on their final assessment mission in the mountains of Colorado, the camp commanders put 81 in charge of the group (against their better judgement due to his previous PTSD) because he has been, head and shoulders, the top-rated individual. After an arduous hike in full gear to the high-altitude checkpoint where their timed mission begins, the battalion encounters what they think is an abandoned prototype tank lying next to a stream. Thinking it is the target objective, they set explosive charges and withdraw; however, after the "FIRE IN THE HOLE!" explosion, it is observed that there is no apparent damage to its armour plating. The "tank" starts to move, transmuting into a walking multi-weapons platform, and angular, ominous red lights appear. The soldiers are temporarily transfixed before it starts to scan them with a broad laser beam. They agree it is time to RUN!

The initial establishment of the main protagonists (of whom we don't really get to know many) seems quite long, but actually only takes up the first 25 minutes of this film's 1-hour 47-minute runtime. There are some memorable faces amongst the younger candidates, including a couple of capable female soldiers who, thankfully, do not get special treatment. Otherwise, the performances are unremarkable and typical for this trope.

As said at the beginning, this is obviously another iteration of the classic Predator (1987) story, just set in different terrain and with a much bigger and deadlier antagonistic opponent. Ritchson is decent and does command the screen with his beefy silhouette, but he is not a patch on Schwarzenegger in his prime action-hero era. Quaid and Morales are really just cameos and have minimal lines, but look decently authentic in military fatigues.

I read that the director, Patrick Hughes, tried to use real locations as much as possible to convey the raw jeopardy of the situation without much green-screen. When we head into the second act - which is why we are really here - the action really ramps up and it is hard to catch one's breath. Although there is no official BBFC certificate for this so far, I would say the blood and dramatic dismemberment of some individuals may be challenging for some viewers. However, there isn't too much of that.

The CGI War Machine itself is as good as anything I have seen rendered on screen so far and looked adequately menacing in the mountainous surroundings. The extra ending did seem to be a bit pointless - unless there is a sequel in the pipeline already. All in all, I did not really mind this unoriginal story, as it looks good, was acted satisfactorily and is just about the right length. But I know it won't be everybody's cup of tea.

Lilya 4-ever (2002)

Originally titled Lilja 4-ever, this film was directed by Swedish filmmaker Lukas Moodysson. It is set in an unnamed, bleak former Soviet republic, was filmed largely in Estonia and is primarily in Russian. It is a devastating story about abandonment and despair, inspired by the real-life case of Dangulė Rasalaitė.

The film follows Lilya, a 16-year-old girl living in a bleak, dour and decaying industrial town. Her life feels as though it is finally about to turn into something worth living when her mother tells her that she plans to move to America and take Lilya with her. She is elated, full of smiles, packs her bags and can't wait for the day to arrive. However, on the day of travel, her life falls apart again when her mother reveals she is going without her, promising to send money and the means to join her at some point in the future.

She is left in the care of her mother’s sister, Anna, who immediately dumps Lilya into a tiny, squalid flat in which an old man has just died, simply so Anna can have Lilya's family home for herself. Anna threatens and abuses Lilya, for whom she clearly does not care, leaving her without electricity, food or the means to survive. When Lilya asks Anna how she is supposed to live, Anna tells her to go and 'spread her legs' for money, just as her mother did. It becomes a hard-nosed tale reminiscent of a Mike Leigh film set in poverty-stricken, working-class Britain. All hope vanishes when she receives a letter from her mother legally disowning her and placing her care into the hands of the social services - who do nothing of the sort.

Lilya has a friend called Volodya, a young boy a couple of years her junior who plays basketball. They end up finding places to sleep and survive together after his father also throws him out of the family home. Volodya looks up to Lilya like a big sister, but also with clear designs on a romantic relationship - which she rejects due to the age gap. Nevertheless, they remain close - they are all each other has. They huddle for warmth, play games and sniff glue together - the downward spiral of poverty and despair continues.

Out of desperation, Lilya briefly turns to survival sex work. She hangs out in a local bar and successfully finds men who use her for money until, inevitably, she is abused. As she is staggering home, Andrei - a handsome young man - pulls up beside her in his car. He offers her a lift and appears to treat her with kindness and respect. They form a relationship and grow close. He claims to live in Sweden and says he is merely on holiday here. He tells her he can find her a job and a home in Sweden if she would like to go with him. Suddenly, life looks rosy again and she leaps at the chance.

Volodya pleads with her not to go. She asks Andrei if the boy can come too, but Andrei says he will "work on it" once she is settled in Sweden. On the way to the airport, having provided Lilya with a false passport, Andrei tells her he must visit his mother and that she should go ahead, with a plan for him to follow in two days. He claims a friend will meet her at the airport to look after her.

By now, even if you do not know the life of Dangulė Rasalaitė, I am sure you can guess what is afoot and the kind of life that awaits her in Sweden. It is a film full of physical and psychological abuse, focusing mainly on how Lilya and Volodya attempt to break free from their world of cruel suffering. It questions the value of human life, highlights systemic neglect and explores the impact of abandonment on 'unseen' children.

The use of Rammstein’s Mein Herz Brennt at the beginning and end of the film creates a moving and harrowing yet chaotic backdrop to the children’s plight. The interior scenes feature a great deal of handheld camerawork, depicting the chaos surrounding the characters and their often violent struggles. I usually complain bitterly about this technique but here, for once, it seems fitting.

The reason I tracked this film down is that we are exploring a 'basketball' theme for the Projector Room Podcast and I wanted to find something away from the usual flurry of American comedies. In this film, Lilya buys Volodya a basketball with the first money she earns from selling her body. He is over the moon. The ball represents happiness in the midst of chaos and misery. When Volodya’s father throws him out, he destroys the ball, ensuring his happiness is short-lived. It is a case of parents destroying the hope of their children. The film ends with a surreal sequence where Lilya and Volodya are on a rooftop, away from the city, happily playing basketball together. It is a quiet, recurring thread that ties their friendship together amongst the misery. I may have had to stretch the theme to fit, but it works!

The film is not an easy watch. It's gritty, dark, moving and tragic. I was unfamiliar with the actors, but the two leads, Oksana Akinshina and Artyom Bogucharskiy, were totally convincing and demonstrated real talent. Well worth a watch if you can track it down.

Hamnet (2025)

I have never read a Shakespeare play. I’ve never seen a film adaptation, never sat through a local production and somehow also managed to navigate the UK education system without ever being taught a single sonnet! So, firing up Hamnet last night, I felt very much like an ignorant git! Literarily illiterate! I kinda expected to be confused, or perhaps even bored by a story that I assumed would require a background I simply didn't have - and I must admit, I was only really in it for the Jessie Buckley viewing!

But as it unfolded, I was proved quite wrong. Enjoying this tale didn't rely on knowing anything about His Bardship at all! While the first hour did occasionally drag, the excellent performances from the whole cast carried me through. The story is far more about family, abandonment, grief and the fragility of existence in an era of perilous childbirth and rigid social values.

The first thing I appreciated was the atmosphere. Right from the off, the sets made the rural world feel alive. A family living in the middle of nowhere amidst mud and hard work, the courtship rituals of a tiny rural community, the mystical/superstition threading through Agnes’s (Buckley - Fargo, I'm Thinking of Ending Things, Men, Women Talking, Wicked Little Letters, Fingernails) 'connection with nature' - it all has an earthy quality. It looked remarkably like life at The Weald & Downland Living Museum in Singleton, West Sussex, which I know so well. In fact, I wouldn't be surprised if parts were filmed there.

The story follows Will (later revealed as the Shakespeare) and Agnes. Will, played by Paul Mescal (Aftersun, All of Us Strangers), is a local tutor with ambitions to be a writer. Agnes is a fierce, intuitive young woman with a reputation for her mystical connection to the forest. When they meet, he falls instantly in love. She is more cagey, fearing that those around her will wildly object to the match. Which, of course, they do.

The chemistry between the characters - and the actors - is clear to see. They are deeply in love, and the only thing standing between them is Will’s ambition. He sees moving to London, the heartbeat of the art world, as a necessity. She wants to remain in her rural home, in touch with the land. As time leaps forward, they have three children - an older girl, Susanna, and twins, Hamnet and Judith. We are told early on that the names Hamnet and Hamlet were interchangeable at the time. When Will heads to London, the family is left to navigate the complications of a long-distance marriage.

Then we reach the tragedy that eventually inspired the play Hamlet. It is a story of a father-son relationship ruined by death. When pestilence arrives, the tone shifts remarkably. The acting reaches a new level as Hamnet falls victim to the Plague (in a roundabout way I won't spoil, as it carries immense emotional baggage regarding his bond with his twin sister). Emily Watson (Testament of Youth, Breaking the Waves, Apple Tree Yard) steps up as Will’s mother, and the audience is treated to an acting masterclass as the family moves from heartbreak to total devastation.

Will is as devastated as Agnes, yet he makes the unpopular decision to return to London. Torn between passion and grief, he feels 'the show must go on' and sets out to write Hamlet in memory of his son - an attempt to fix the unfixable through art it seems. The entire second half of the film is drenched in the family’s grief until Agnes finally travels to see the play for herself. I’ll leave you to soak up that ending for yourselves.

I haven't read Maggie O’Farrell’s book, on which this is based, but it’s clear that while much is fictitious, it is rooted in the recorded facts of the 1590s. There is very little to dislike here, even for an ignoramus like me! The direction by Chloé Zhao (Nomadland) was great. It moved with a fluidity that kept the dual timelines clear and compelling.

The music also deserves a mention - the use of Max Richter’s On the Nature of Daylight was haunting and emotional, providing the heartbeat of the film. With hindsight, perhaps my 'blank slate' status allowed me to approach this from an emotional place rather than an academic one. It is a beautiful, haunting and hopeful film about the invisible people in history - wives and children left behind - while famous men change the world. You don’t need to be a scholar to be moved by it, you just need to have loved and lost.

The Drift (2026)

The Drift was also released under the title Ice Skater, and I have several thoughts on this Finnish-European co-production (directed by Taavi Vartia), which maintains a stark Scandinavian feel throughout.

We join the film as Emily, a competitive ice skater, wakes up on a lump of ice that has apparently broken off from a shelf in a remote Arctic location. She and her teammates had retreated there to practice away from the public eye. The ice she is stranded on is roughly a 20-foot square, adrift in the Arctic Ocean.

With nobody in sight, we occasionally spend time with rescue crews who eventually appear to give up. Emily has little with her: her skates, a small bag of supplies including a first-aid kit, a mobile phone with a smashed screen, a tent and an urn containing her sister’s ashes. We stay with her for the duration, watching her put basic survival skills to work, though she inevitably becomes dehydrated and exhausted.

There is an interesting encounter with a hungry polar bear and her cub, which Emily survives - somewhat ludicrously - by zipping herself into her tent and closing her eyes! The bears, incidentally, are very poorly rendered CGI. Later, her phone rings - she can answer calls but cannot make them - and despite being in the middle of the Arctic Ocean, she miraculously has a signal. This is where we begin to question what is real and what is hallucinated due to her deteriorating state.

Harry, the man on the phone, is initially a cold-caller trying to sell air conditioning. When he calls back, their conversation shifts to life, love, death and the universe - further making me wonder what is real and what's not. Regardless of the call's reality, it provides Emily with the encouragement to keep fighting. We see flashbacks regarding her sister, who, at seven years old, appears to have been struck by lightning due to eight-year-old Emily’s neglect. Carrying that guilt ever since, Emily has been searching for the most beautiful place in the world to scatter the ashes. As the Northern Lights appear, she decides she has found it and finally lets go.

The production is clearly low-budget. The ice platform is strangely static amidst a rough sea that mostly looks like a CGI creation. The water resembles a studio tank rather than a real location - certainly not the genuine waters of Finland. The ending, which I won’t spoil here, is wildly open to interpretation, again forcing us to question the reality of the situation.

At one point, Harry mentions a news item claiming her body has been found. Is she dead? Is Harry real? Is she hallucinating? Or is a miraculous rescue mission around the corner? The film is intentionally ambiguous, leaning into the message rather than the plot, which is full of holes. Ultimately, it seems to be a metaphor for Emily 'drifting' through her own guilt and grief.

Emily herself looks like a high-end video game character half the time, likely due to the use of AI-enhanced digital doubles to save costs. She also appears to survive against all odds - in reality, she would last mere minutes in those waters. At one point, she even dons her skimpy ice-skating gear and barely loses colour! Biological survival is clearly off the table here, so we must consider the survival as purely metaphorical.

It's a decent-enough watch - fairly short at under 90 minutes and moving at times (unlike her ice floe)! Digitally enhanced or not, Thea Sofie Loch Næss delivers a convincing lead performance. It’s currently streaming on Apple TV if you fancy it.

PodHubUK Podcasts for the Month of February 2026

   

...a roundup of our month of podcasting. Links to the team, communities and podcast homes on the net at the foot, so scroll down!

Tech Addicts 2026

Season 1, Episode 1 - An Overclockable Sex Toy

Sunday 1st February

Gareth and I are back talkin’ tech for 2026! Chatting about the Handy 2 Pro sex toy, HP EliteBoard G1a, Linux Mint 22.3, Social Media Ban, Google, Epic, Logitech MX Master 4, Marshall Heddon, Pixel Tablet and loads more! So do join us - get back in the groove!

The Phones Show Chat Podcast

Episode 881 - Signature Samsung Sellout!

Monday 2nd February

Joe and I are joined by James Reed this time as we find out what he's been using as a phone since last on. Lots of Samsung chat, Android Auto antics, Magic V6 is en route, Galaxy Unpacked too - plus we lend our thoughts on the 3-in-1 NexPhone, Sammy's Privacy Display, Motorola Signature and much more besides - including the crowning of Photo of the Year for 2025.

Whatever Works

Episode 237 - Common as Castrol Muck!
Wednesday 4th February

Aidan and I are back again with this month’s deluge of drudge as we go a Wicking and Coddling our way through many a time-wasting twaddle whilst blocking the blue light! From Cool Collars to Castrol Cups, Steam Bags to Angry Mamas - we even have time to go Inseparable and certainly Affordable! This and so much more in this bumper episode, so strip off and jump on into the frog pond with us!

Projector Room

Episode 203 - The Anaconda Cannibal
Wednesday 4th February

Gareth and I are back again with another fortnightly roundup of all things film, cinema and TV. This time we're Ravenous for Sorority Babes, take The Long Walk to Greenland, discover that H is for Hawk and Hannibal, take Little Bites from The Surfer - and that in 28 Years, we'll have Falling Skies! Loads more as always, now available in the usual places!

Tech Addicts 2026

Season 1, Episode 2 - Aforementioned RAM SHortages

Sunday 8th February

Gareth and I are back again with another catchup of all things tech, to which we are addicted! We chat about the RAM shortage, Logitech MX Master 4, Lenovo Legion Y700, Ark 2-in-1, ChromeOS giving way to AluminiumOS, the Steam Machine delay, Amazon and Northern Ireland, Vodafone and 3uk woes, O2 5G coverage across UK and much more. So get tuned in and enjoy hearing me splutter through a stinking cold! The show must go on!

Tech Addicts 2026

Season 1, Episode 3 - I Saw OpenClaw

Sunday 15th February

Gareth and I are back again with another dumpling of dogdoo this weekend chat about AI-driven RAM spikes are thinning phone specs, while uTag unlocks Samsung gear for all. KeyGo Gen 2 and NexPhone offer new hardware paths, Linux Mint 22.3 updates and OpenClaw agents bring both utility and high-risk security warnings. And much more. Available now from the usual places!

The Phones Show Chat Podcast

Episode 882 - The Murena Shift

Monday 16th February

Ian Furlong of CoolSmartPhone fame joins Joe and I this time as we find out all about his World of Samsung, Watches, Rings and dabblings with hyper-secure, Google-free phones. We have drop-in audio from Steve regarding the Nokia N8 Reborn experiments and time still for loads more natter as we're all awaiting MOTOvator hardware to review, looking at rejiggling PSC Photos and have hands-on with the Honor latest too! Available now via the usual outlets, so do join us for an hour!

Projector Room

Episode 204 - Choral Keeper
Wednesday 18th February

Gareth and I are back again for another viewing roundup. This time we visit The Beyond during the Night of the Hunted, Steal a Phantasm (or 5), let Halliwell's Guide our research, consider a Migration 2 Greenland and take Exit 8 after 56 Days in Coming Soon. Loads more as always, so do join us.

Tech Addicts 2026

Season 1, Episode 4 - Attack of the Martial Arts Robots

Sunday 22nd February

Gareth and I look at Martial Arts Robots putting on a display before impending potential human annihilation, the Honor MagicPad 4 tablet, Samsung’s MovingStyle…thing, Steam Deck woes, Linux 7.0 excitement, changes to the Google AI Plus, Pro & Ultra packages and is the Sapphire an Aluminium flagship? The season finale is now available via the usual haunts, so do join us.

The Phones Show Chat Podcast

Episode 883 - Ted & Joe Go Live!

Monday 23rd February

Bit of an experiment to get some of the community involved, which wasn't a complete failure because our good friend Irfan Ali turned up to chat with us about all sorts of topics, but mainly his love for new phone, the Honor 400 Pro. And he's in good company with Joe and I on that one! Oh well, it was a bit of a fun toe-in-the-water test. Maybe we'll write that experiment off to experience and focus on the lovely chat we had with Irfan!

The Camera Creations Podcast

Episode 16 - Infrared Photography

Thursday 26th February

The gang is back again with another delve into all things photography and cameras. We learn about the value and purpose of Infrared Photography, hear about some upcoming new lenses (with dubious focal length ranges) and still have time to showcase shots taken by the panel since the last show. Motor sport, Street from Hong Kong, murky weather on the south coast and of course, plenty of samples of infrared. Now available in the usual places, so do join us.

The Podcasts (PodHubUK)

Phones Show Chat (PSC) - Whatever Works - Chewing Gum for the Ears - Projector Room - Tech Addicts - Camera Creations

The MeWe Community Groups (follow the links to join up)
Phones Show Chat (PSC) - Whatever Works - Chewing Gum for the Ears - Projector Room - PSC Photos - PSC Videos - PSC Classifieds - PSC Health - Coffee Time - Camera Creations - Tech Addicts

The Team
Ted Salmon - Steve Litchfield - Aidan Bell - Gareth Myles - Joe Hickey - Chris Clayton - Ian Bundey - Charlie Winston