Yesterday, Hinge founder Justin McLeod shared more details about his next venture, an AI matchmaking service called Overtone.

McLeod announced his departure from Hinge back in Dec. 2025 to focus on Overtone, which he plans to launch later this year in select locations. (You can put yourself on the waitlist if you’re interested.)

“Overtone is not a dating app,” McLeod wrote in the latest blog post. “By that I mean it’s not a social platform with profiles that reduce people to stats, quotes and photos. There are no opaque, algorithmic feeds trained on split-second impulses. And there’s no juggling likes, matches and chats across many people at once.”

Rather, the post goes on, Overtone is a service. McLeod promises Overtone will make only introductions “worth making” and will explain why someone is a match. He wants to bring back matchmaking, a longtime practice. These days, it’s pretty limited to those who can spend thousands of dollars on a personal matchmaker, like in the movie Materialists.

“But this time with the reach and diversity of modern networks, the collective wisdom of relationship science, and the conviction that when it comes to options, all you need is less™,” he wrote (yes, including the trademark).

Details of what Overtone will look like are scarce, but McLeod also announced the company has raised $18 million from FirstMark Capital, Pace Capital, and Match Group. The latter is the dating app conglomerate that owns Hinge.

Additionally, Match Group and Tinder CEO Spencer Rascoff has joined the board, as have executive leadership adviser and founder of The Signal Institute, Diana Chapman, and famed relationship psychotherapist Esther Perel (who partnered with Hinge last year).

Overtone will come at a time when some daters are skeptical about using AI to find them a match. When Bumble founder and CEO Whitney Wolfe Herd announced earlier this year that Bumble is killing the swipe and ushering in an AI matchmaker, the reaction online was largely negative. But there are budding AI matchmakers out there, such as Sitch Matchmaking and Ditto AI.

It’s an open secret in the tech world that Samsung will likely debut the Galaxy Z Flip 8, Z Fold 8, and new Z Fold Wide at its Galaxy Unpacked event in London on July 22.

And on Tuesday, the company confirmed in a press release that its next-gen Galaxy foldable devices will debut soon with a new Flex Titanium display structure. In its announcement, Samsung said the new Flex Titanium technology will provide foldable phones with “enhanced durability and reduced crease visibility.”

“The new Flex Titanium technology will debut with Samsung’s next-generation Galaxy foldable devices. Further details will be unveiled at Galaxy Unpacked on July 22,” the press release stated. The announcement all but confirms the long-rumored focus of the Galaxy Unpacked event, which lines up with Samsung’s previous foldable phone launch timeline.

As the name suggests, Flex Titanium uses titanium components to support bending displays.

Specifically, the new hardware tech employs a titanium-alloy film underneath the OLED panel, as well as a titanium plate underneath the film. Samsung said the titanium film sits “below the OLED panel” and offers “20 times greater mechanical stiffness than plastic films while measuring less than 30% the thickness of a human hair, enabling a slimmer display panel.” In Samsun said theaddition, the titanium plate supports “the display module from beneath, eliminating air gaps between the module and adhesive for more stable support when unfolded, while retaining the flexibility needed for repeated folding.”

The idea is to make phones that can withstand thousands of folds over multiple years, while providing a quality viewing experience for users who don’t want to see a big, ugly crease in the middle of the screen. For what it’s worth, in the last couple of years, flagship Samsung foldables have mostly fixed the crease problem already, but we’re still excited to see how Samsung can alleviate it further.

It hopefully won’t be long before we get a real first look at those devices, as the London Unpacked event is just one week away.

Lucky puts its cards on the table too early.

The new Apple TV limited series, starring and executive produced by Anya Taylor-Joy, kicks off with its titular protagonist (Taylor-Joy) on the run from an FBI agent. Sporting a bleached bob and a Caesars Palace jacket, she scrambles through a maze of parked trucks, desperately crawling under wheels and slamming around corners until her fate finally catches up with her. It’s a fairly thrilling action sequence, but soon, all too predictably, Lucky flashes back to the fateful hours leading up to this high-octane chase.

The move is an all-too common one in film and TV, meant to give viewers a tantalizing taste of what’s to come. Often, though, it feels like titles that use this tactic aren’t confident that viewers will buy into their story without the promise of action. With Lucky, that unfortunately proves to be the case. A crime drama bursting with clichés, Lucky works best when its characters are getting out of serious scrapes, and less so when they’re actually talking.

What’s Lucky about?

Anya Taylor-Joy in “Lucky.”
Credit: Apple TV

As we learn in the first of Lucky‘s many flashbacks, the woman on the run in the show’s opening is Lucky Armstrong, con woman extraordinaire. Together with her husband, Cary (Drew Starkey), she’s just pulled off a $10 million heist that should have her set for life. The pair spend a sweet night celebrating in Las Vegas, but by the morning, Lucky wakes to find herself alone, penniless, and at the top of the FBI’s most-wanted list.

So begins one of Lucky‘s most tense sequences. As the FBI descends on Caesars Palace, she must use all her wiles to escape from a seemingly impossible trap. It’s an electrifying cat-and-mouse game, following an increasingly desperate Lucky through crowded casino floors and winding hotel rooms.

The Caesars Hotel sequence is just the first of many thrilling set pieces throughout Lucky‘s run, including shoot-outs, car chases, and one desert-set escape that sees Taylor-Joy channeling the same fierce drive to survive she weaponized so well in 2024’s Furiosa: A Mad Max Saga. In all these scenes, Lucky is operating at her most desperate, which means we get to see her full bag of tricks, learned from her imprisoned father, John (Timothy Olyphant), at work. As she manipulates mark after mark, Taylor-Joy brings an effortless cool to Lucky. Sometimes, though, that cool can be overpowering, and we lose the fear and anger that’s driving Lucky in her quest to set things right. (It doesn’t help that, even after going through hell, Lucky’s bob remains chic as ever, making it hard to buy into the character’s gritty struggles.)

Outside of these sequences though, Lucky loses its steam. Its overreliance on flashbacks leads to some extremely on-the-nose moments, like when Lucky pulls a con at a birthday party, all while remembering a conveniently similar job she and her father pulled years ago. Elsewhere, story beats feel oddly familiar. At one point, Lucky pretends to be drunk while meeting a man at a bar, leading to a scene eerily reminiscent of one in Promising Young Woman.

Annette Bening is an ice-cold scene stealer in Lucky.

Annette Bening in “Lucky.”
Credit: Apple TV

Lucky weaves a larger web of crime and shady syndicates that pales in comparison to the more immediate drama of Lucky’s smaller cons. However, there’s one huge saving grace to that more overarching crime tale, and that’s Annette Bening as fearsome mobster Priscilla Masterson.

Always rocking the coolest glasses and coats the show has to offer, Bening’s Priscilla takes over every scene she’s in with an icy power. At times, she’s calculatedly nonchalant, with even her most casual comments oozing with threats. At others, she’s a laugh riot thanks to her dry disdain for everyone around her. She makes a great foil for Taylor-Joy’s often-harried Lucky, as she’s almost always in control. When she’s not, it’s because she’s under the thumb of the menacing Wayne Whittaker (William Fichtner). You can imagine that as Lucky grows older, she could find herself in a similar troubling situation: still living a life of crime, still expected to take the fall.

Lucky hopes to examine how Lucky could get off that path, the one her father set her on when she was a child. Its conclusions and twists along the way are fairly predictable, but it offers up some slick summer fun in the meantime. When you’re done, though, Lucky‘s impact is like that of a good con man: gone before you even know it.

The first two episodes of Lucky premiere July 15 on Apple TV, with a new episode every Wednesday.