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Tesla has dropped the price of their FSD Computer/Hardware 3.0 upgrade to $1,000, from the previous price point of $1,500. This applies to vehicles that still have Hardware 2.0/2.5 computers and want to try the new Tesla FSD subscription service rolled out this weekend.

The move comes after significant criticism from Tesla forums and from us here at Electrek, who pointed out that Tesla is charging owners to upgrade to hardware they were already told they had.

Our previous story lays out the whole situation, and we won’t completely repeat it here. Click through if you want more details.

Here’s a quick recap: all vehicles Tesla sold from late-2016 to mid-2019 purportedly included the appropriate hardware for Full Self-Driving capabilities. This was not functional yet, but would be utilized as Tesla further developed its Autopilot software. Eventually, Tesla found out they needed a hardware upgraded, and started shipping cars with a more capable Autopilot computer. When owners of cars with the old hardware bought the Full Self-Driving package, they would be upgraded for free to the new computer. Then Tesla introduced a new subscription model, but started charging people with the old hardware $1,500 for the hardware upgrade, even though those owners had bought the car thinking they had the proper hardware for Full Self-Driving.

After seeing the backlash from forums, Electrek, and other publications, Tesla seems to have taken this criticism at least partially to heart, and customers in the same situation who go to upgrade in the Tesla app are now shown a $1,000 upgrade cost, rather than the previous $1,500:

We have also seen reports that anyone who has scheduled an installation in the last few days will receive a refund for the $500 difference.

According to a teardown by EE Times, Tesla’s HW 3.0 system costs about $190 per unit – though, to be honest, this seems a little low to us. Also, this is simply hardware cost, and doesn’t include any service or logistics costs for the retrofit installation.

Electrek’s Take

While this is a step forward, it’s still not zero. Tesla sold these vehicles with the promise that they had the hardware for self-driving capabilities, so it does not seem ethical to charge additional money to owners who bought the vehicle with that promise simply in order to restore a capability that they were told they already have.

Yes, things have changed since then, but a person who bought a Tesla in 2017 did not know that HW3 would be required for Full Self-Driving, as that announcement wasn’t made until 2019.

Tesla did right by those owners previously, by offering free upgrades for those who bought Full Self-Driving, but they’re still not doing right by the owners of late-2016 to mid-2019 cars who subscribe to the new subscription feature.

We don’t know what Tesla’s specific concerns are which led to this decision. It’s possible they thought that if enough people subscribe for one month and then cancel their subscription, the cost of installing hardware in those vehicles would result in a loss for Tesla, and those cars wouldn’t be gaining any functionality from the new hardware anyway. From their current point of view this makes some sense, but remember: they still sold these cars as if they had Full Self-Driving hardware. Upgrades required to get to that point should be Tesla’s responsibility, not the owner’s.

Fred had a suggestion for a compromise that Tesla could implement, which does alleviate this possible concern:

I had been thinking something similar. Tesla could have introduced the subscription service with a minimum contract, or as Fred states, perhaps a credit of several free months in exchange for a lump sum upfront to cover the hardware upgrade. This would have been an easier sell, as customers wouldn’t feel like they’re losing out on any money, even though they should have already had the hardware for FSD.

They likely didn’t do that because they wanted to keep subscriptions easy, but If they had done this from the get-go, they probably could have avoided the anger of customers who feel jilted at having to pay for hardware they thought they already had.

In the end, the most fair solution is just to take it on the chin and install this hardware for free to people who bought a car that was marketed as having Full Self-Driving hardware. Maybe Tesla takes a short financial hit from this, but if they’re proud enough about the system and think its capabilities are worth 199/month, they’ll eventually recoup those upgrade costs and more.

Besides, it was a promise, and for a company that has grown largely due to the loyalty and word of mouth of its early customers, it’s not just the right thing to do, but the smart thing to do. We’re glad they made this change, because it means they recognize they were wrong and are receptive to criticism, but we’d really like to see the price go down to what it should have been all along: zero.


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Strictly Come Dancing star Giovanni Pernice denies claims of ‘abusive or threatening behaviour’ on show

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Strictly Come Dancing star Giovanni Pernice denies claims of 'abusive or threatening behaviour' on show

Strictly Come Dancing star Giovanni Pernice has rejected allegations that he displayed “abusive or threatening behaviour” while working as a professional dancer on the show.

The 33-year-old Italian dancer said he was “surprised” amid reports the BBC is looking into complaints about his conduct.

A legal firm acting on behalf of the complainants said the broadcaster is “evidence gathering” – but the BBC has not confirmed that any probe has been launched.

In the statement shared on Instagram, Pernice wrote: “To my dear fans, you will be as surprised as I am that allegations have been made about my dance teaching methods in the media this week.

“Of course, I reject any suggestion of abusive or threatening behaviour, and I look forward to clearing my name.”

He added: “Those who have followed my journey on Strictly Come Dancing over the last decade will know that I am passionate and competitive.

“No one is more ambitious for my dance partners than me.

“I have always striven to help them be the very best dancers they can be.

“This has always come from a place of love and wanting to win – for me and my dance partners.”

Pernice signed off the message by writing: “Thank you all once again for your continued love and support! Giovanni.”

Read more from Sky News:
Sarah Harding cancer research helps identify at-risk women

Is buying vinyl bad for the planet?
Blue Peter host claims Rolf Harris assaulted her

A statement from law firm Carter-Ruck to the PA news agency said: “There have been numerous serious complaints made to the BBC who are now in the process of evidence gathering.

“As it is still an ongoing matter no further comment can be made at this stage.”

The Sun, which first reported suggestions that an investigation was underway, also claimed Pernice had quit the show.

Neither the BBC nor Pernice has confirmed his departure.

Sicily-born Pernice has been on the BBC One celebrity dancing show since 2015.

In 2021, he lifted the Strictly glitterball trophy for the first time alongside EastEnders star Rose Ayling-Ellis, who was the first deaf contestant to win. He had appeared in three show finals previously.

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He also holds the Guinness World Record for most jive kick and flicks in 30 seconds, which he achieved on the BBC’s Strictly It Takes Two show in 2016.

The BBC was approached by Sky News but declined to comment.

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Sarah Harding breast cancer research project is successfully identifying at-risk young women

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Sarah Harding breast cancer research project is successfully identifying at-risk young women

A groundbreaking breast cancer research project launched in memory of the late Girls Aloud singer Sarah Harding is already successfully identifying young women at increased risk of getting the disease.

The BCAN-RAY (Breast Cancer Risk Assessment in Young Women) was launched a year ago in the singer’s name after she died from the disease in 2021 at the age of 39.

While she was having treatment, the star said she was “really keen” for more research into why young women are being diagnosed without a family history of the disease.

One of the singer’s final hopes was to find ways of spotting the disease early when it’s easier to treat.

The BCAN-RAY is one of the only projects in the world trying to identify which women in their 30s are most at risk.

About 2,300 women under 40 are diagnosed with the disease each year in the UK, according to Breast Cancer Now.

The two-year study is using money from Cancer Research UK, the Christie Charity, and the Sarah Harding Breast Cancer Appeal – backed by her family and former bandmates.

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It looks at risk factors most commonly found in young women with the disease and will form a model to identify them in future.

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Anna Housley, 39, from Hale, Greater Manchester, is one of the women taking part in the trial. After being tested last year the mother of two was surprised to find she’s at increased risk.

With no history of the disease in her family, she told Sky News: “I’m really grateful that I have been found because now I know that I’m going to be looked after and I can be screened.”

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Speaking about the work of Harding, she said: “All I can say really is thanks to her for being such a brave advocate to young women.”

The new information means she’s now eligible for annual mammograms and medication should she want it.

It’s hoped all women will eventually be able to have a risk assessment when they reach 30.

Pic: David Fisher/Shutterstock
Image:
Girls Aloud kicked off a reunion tour on Saturday dedicated to the late bandmate. Pic: David Fisher/Shutterstock

A thousand women in the Greater Manchester area will take part, including 250 with breast cancer who don’t have a family history of the disease.

Saliva samples will hopefully help experts identify certain types and patterns of genes that could raise a woman’s risk.

These will be considered with factors such as period timing, breast tissue density, alcohol consumption and use of the pill.

Harding’s consultant Dr Sacha Howell from Manchester University NHS Foundation Trust, who is leading the study, said of the singer: “I think she’d be absolutely thrilled that she was part of this and her legacy is that we will be helping more and more young women like her.

“But what we’re all hoping is that by detecting those cancers earlier, they won’t unfortunately have that end result that Sarah did, which was to pass away with the disease.”

Harding’s legacy won’t just be her successful music career, it will also be her work in raising awareness around breast cancer and potentially giving many more women in their 30s a future.

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Is buying vinyl bad for the planet – and what can be done about it?

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Is buying vinyl bad for the planet - and what can be done about it?

Taylor Swift’s new album helped fuel the highest weekly vinyl sales in 30 years – but is our rediscovered love of owning records environmentally reckless?

PVC (poly vinyl chloride), the plastic from which records have traditionally been made, isn’t great for the planet, and concerns have also been raised over packaging as vinyl sales have risedn in recent years.

Rou Reynolds, frontman of chart-topping rock band Enter Shikari, believes leading artists need to shoulder some responsibility to “push forward” change.

“The bigger you are as an artist, the more influence you have, the more you can push things forward and accelerate progression,” he says.

Pic: Beth Garrabrant
Image:
Taylor Swift’s Tortured Poets Society is leading the vinyl boom. Pic: Beth Garrabrant

In an interview with Billboard in March, Billie Eilish criticised how “wasteful it is” when “some of the biggest artists in the world” make “40 different vinyl packages”, each with “a different unique thing just to get you to keep buying more”.

“Its reasonable criticism,” says Reynolds, “but I think it’ll basically dissipate as soon as it becomes the standard to use BioVinyl, for instance – that will really take away the possibility of criticism”.

Rather than make records out of regular PVC pellets, over the last few years it has become possible to use renewable sources such as cooking oil or wood pulp.

Enter Shikari at Slam Dunk Festival North in Leeds in 2023. Pic: Graham Finney/Cover Images via AP
Image:
Enter Shikari’s Rou Reynolds, pictured on stage in 2023, says artists need to lead the way. Pic: Graham Finney/Cover Images via AP

“Traditional vinyl is an oil-based product,” Reynolds explains. “No one really wants to support the extraction of any more fossil fuels.”

Enter Shikari now insist all their records are made using BioVinyl, and Reynolds is optimistic that if more artists make demands about what their records are made from, it would become the new norm.

“A lot of independent artists, like myself, we can light these fires, then it spreads and before you know it, it will become the industry standard.”

‘The advances are incredible’

Karen Emmanuel, Key Production Group
Image:
Karen Emanuel, chief executive of Key Production Group, has worked in the industry for 35 years

Leading voices within vinyl production want the music industry to listen.

“Along with the Vinyl Alliance and the Vinyl Records Manufacturers Association, we’re looking at the whole manufacturing chain,” says Karen Emanuel, chief executive of Key Production, the UK’s largest broker for physical music production.

“I’ve been in the business probably about 35 years and the advances that have been made, it’s incredible. A lot of the big plastics companies, for PVC they’ve found a way replacing the fossil fuel elements [which] could mean as much as a 90% reduction in the carbon footprint of the vinyl.”

The catch, at the moment, is the cost.

“It’s a bit more expensive to manufacture but if enough people manufacture with it then the price point will come down… it’s something that we’re really trying to push people towards.”

Would fans be happy to pay more for a greener product?

Lee Jeffries, from Sonic Wax, in Leicestershire
Image:
Lee Jeffries, from Sonic Wax, in Leicestershire, owns the world’s most expensive Motown record. Pic: Sonic Wax

Lee Jefferies, the owner of Leicestershire-based vinyl pressing plant Sonic Wax Pressing, is such a big vinyl lover, he spent £100,000 buying the world’s most valuable Motown record.

“Ultimately everything works from retail back,” he says “And with retail prices already being quite high on vinyl it’s very hard for people to have the extra money to buy biodegradable vinyl.”

But a recent survey conducted by Key Production found more than two thirds (69%) of vinyl buyers indicated they would be encouraged to buy more if the records were made with a reduced environmental impact.

The findings also revealed that the vast majority, 77%, of regular vinyl customers are willing to pay a premium for reduced impact products, signalling a significant market demand for eco-friendly alternatives.

Is there a bigger problem?

Ultimately, either the consumer, artists or labels will have to shoulder the cost if vinyl is to be made more sustainably.

But while a big old hunk of PVC might feel like the least green option, are we getting ourselves in a spin when we should also be looking in another direction?

Figures from the Recording Industry Association of America (RIAA) and International Federation of the Phonographic Industry (IFPI) put global vinyl sales for last year at about 80 million – using the IMPALA indepdent music companies association’s music emissions calculator, that works out at producing around 156k tonnes of CO2 emissions.

Read more:
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If you compare that to streaming, with Spotify alone – responsible for about a third of the market – its own estimates for its global carbon emissions were 280k tonnes last year, with vast amounts of electricity being used to power its data storage servers.

For Enter Shikari’s Reynolds, the potential to make vinyl greener is exciting.

“It has the same quality, the same appearance, you really wouldn’t notice the difference, which is incredible,” he says. “I think it speaks to, you know, a lot of the time people think that the transition society is about to go through, we think we’re going to lose luxuries… but I think this is just an example of why that’s not the case.

“You know, all it takes is some thought and some adaptation, and then some adoption… it’s super exciting.”

Perhaps now it’s time for the music industry to take note.

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