The Tineco Pure One Station 5 Is a Stick Vac That Empties Itself

When you have three different floors in your house, like I do, using a cordless stick vacuum is the key ingredient to keeping them clean. It's easy to carry around to different areas, compact enough to vacuum two staircases without pulling a muscle, and still wide enough to vacuum an entire living and dining area in a few minutes.
The downsides, of course, are twofold: the risk of the battery running out, and the canister limit on how much dust and dirt it can gather. I've tried a few stick vacuums, but the one that makes these two downsides feel nonexistent is the Tineco Pure One Station 5 vacuum. That's because it comes with a freestanding charging station that not only holds up and charges your vacuum but also will auto-empty it into the larger canister in said base station. Suddenly, there's no canister-emptying step to deal with after each vacuuming session: I just pop it in the station, and it takes care of itself.
It's a pretty handy package that costs a pretty penny as well. But the freestanding charging and emptying base station has made the Pure One Station 5 feel incredibly convenient and less irritating than having to constantly empty a tiny canister. Plus, it's powerful enough to suck up cat litter and sneaky dust bunnies as well as my toddler's Hansel and Gretel-esque food trails around the house. Out of the Box
Photograph: Nena Farrell
The vacuum is easy to build, coming with the vacuum base, Tineco's ZeroTangle brush, and a tube to connect the two together, plus a 2-in-1 crevice brush and the base station. There's a little cutout in the base station to store that crevice accessory, plus a power cord to power the suction in the base station and charge the vacuum.
The base station has a 2.5-liter dustbin capacity, larger than you'd find on our favorite floor vacuums like the Dyson Ball Animal 3 Extra—that one has about 1.5 liters. That means you'll have plenty of vacuuming sessions before you need to empty the base station. The dustbin on the actual vacuum itself is much smaller, but a normal size for a cordless vacuum. I was usually still able to vacuum an entire floor of my house, cat litter and all, without needing to take an emptying break, but households with lots of deep-pile carpeting or fluffy dogs could fill this up much faster.
The station promises to both empty the attached dustbin and self-clean the vacuum by pushing air through the vacuum's filter, tube, brush attachment, and of course, the recently emptied dustbin. You can hear the sound change when it switches from just emptying into the 'cleaning' stage of pushing air through the vacuum. Both stages are pretty noisy and remind me of the sound you hear when a robot vacuum is emptying itself into a similar base station.

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• Yahoo

Ghosting and ‘breadcrumbing': the psychological impact of our bad behaviour on dating apps

Every single day, thousands of people around the world use dating apps to strike up conversations with strangers, with the supposedly mutual objective of finding a partner. However, placing blind trust in others' intentions is the first mistake that many users make – the person on the other side of the screen might not actually be in search of true love, or anything resembling it. In fact, several studies have highlighted that people use dating apps for all manner of reasons, ranging from conversation to just nosing around other profiles. When it comes to dating apps, the quest for true love is evidently the last thing on many people's minds. Far from a utilitarian matchmaking tool, dating apps more closely resemble a classic children's story, filled with conniving characters and emotional challenges. It is a world populated by cunning wolves, duplicitous trails of breadcrumbs, and ghosts that mysteriously vanish into thin air. Leer más: In our story, the wolf lurks in the depths of the dating app forest. Much like the hungry wolf in Little Red Riding Hood, this wolf hides behind a veil of deception – studies have found that during the initial phase of dating a person online, an average of around 7% of the information revealed is untrue. People often fall back on lies to make their profile seem more interesting, or to avoid awkward conversations. While in children's stories the truth always comes out, it can be much harder to distinguish fact from fiction on a dating app, and many users become jaded and sceptical once they've been deceived. A bad start to any relationship. In this story, many of us venture into a forest filled with breadcrumbs that mark the way. Unlike in Hansel and Gretel, these are not left to mark the path home, but rather to keep victims helplessly trapped in an intricate emotional maze. The practice of 'breadcrumbing' involves showing sporadic, irregular signs of interest without any real commitment to moving a relationship forward. Somebody that sparks your initial interest might leave these signals from time to time – a message here, a like there – in order to keep some kind of hope alive, but they never offer anything more. Those who follow the trail often find themselves lost, unsure of what to expect at any turn. According to a study, around 35% of dating app users have been either a perpetrator or victim of breadcrumbing. It is also anything but harmless. Breadcrumbing leaves its victims feeling trapped in a tangled web of emotion, one that is difficult to get out of unscathed. Other studies have shown that as breadcrumbing continues over time, people can experience lower life satisfacation and greater feelings of loneliness and helplessness, especially when they realise that their 'breadcrumber' has no intention of taking their relationship any further. Leer más: In this modern retelling, we also find ghosts who, just like their classical counterparts, have a habit of vanishing without a trace. This sudden disappearance is known as 'ghosting'. Repeated or sustained interactions on a dating app can raise expectations, so when someone is ghosted they can often find themselves feeling abandoned and uncertain, with little clue as to what happened to them, or why. This bewilderment can, on occasions, have a profound emotional impact. We can draw parallels to another storybook moment here: the magical match between Cinderella and her prince. Upon meeting they both feel an instant, powerful attraction, much like how two people might feel when they first start chatting on a dating app. Cinderella then 'ghosts' the handsome prince, leaving him with nothing more than a glass slipper and a vague sense of confusion. Luckily for the prince (and thanks in no small measure to his dogged efforts) the story ends well and love prevails. In the more modern tale of of dating apps, ghosting doesn't usually end with the protagonists living happily ever after. One study reported that around 20% of users had either ghosted someone, or been a victim of ghosting. Leer más: Lying wolves, breadcrumb trails and fickle ghosts are just some of the challenges that dating app users have to face. They can all leave victims feeling sceptical, cynical, frustrated or confused, but it doesn't need to be this way. Much like in Cinderella, where the story carries on after the dance, meaningful relationships can be built in real life, through real interactions and honest, open conversation. Instead of vanishing, scientific studies have shown that people find a greater sense of connection and authenticity by investing time and effort in developing relationships that go beyond the superficial level. By doing this, they build the foundation on which to construct their own love story. It is estimated that among young adults, two thirds of romantic relationships begin as friendships. Much like in children's stories, where people grow close before finding true love, a solid relationship is built on mutual understanding, trust and communication. To reference another fairytale, let's not forget how the Beauty and the Beast came to be together. Above all, we have to remember that we are the protagonists in our own stories. It is in our hands to write the ending we want. Este artículo fue publicado originalmente en The Conversation, un sitio de noticias sin fines de lucro dedicado a compartir ideas de expertos académicos. Lee mas: AI dating is about data, not love: How to resist the tech takeover of romance Why using dating apps for public health messaging is an ethical dilemma Online dating fatigue – why some people are turning to face-to-face apps first Jon Andoni Duñabeitia no recibe salario, ni ejerce labores de consultoría, ni posee acciones, ni recibe financiación de ninguna compañía u organización que pueda obtener beneficio de este artículo, y ha declarado carecer de vínculos relevantes más allá del cargo académico citado.

Chicago Tribune

04-06-2025

• Chicago Tribune

Spider-Man spins a complicated web. This new exhibit at Griffin MSI is just for fun.

Just inside the first gallery devoted to 'Marvel's Spider-Man: Beyond Amazing — The Exhibit' at the Griffin Museum of Science and Industry, there is a life-size Spider-Man statue or mannequin. I don't know what you call this, but he looks real. He's not, because he's Spider-Man and Spider-Man is not real. But Spider-Man may as well be real. Most of us have never known a world without a web crawler patrolling Queens. Here, he's bursting out of a comic book as if blasted out of a Spider-Cannon, fingers on his left hand curled into the universal symbol of web-based travel. As I entered this room, I found myself unable to move on, as if hypnotized by the overlords of Marvel who have licensed it, or just the clever people who put together this somewhat thin but charming character celebration. Every patron in the exhibition is unable to move on. Most take a picture with Spider-Man, and everyone who does, , shapes their own fingers into that Ozzy devil-horn thing and, as Spider-Man would, pretend to blast out a tendril of spider fluid. 'Give mommy the Spidey thing, baby,' a mom says. Her daughter, so young she looks a step away from plopping backward, instinctively pulls her fingers into the iconic web-shooting pose and, being a Spider-Ham, adds a determined scowl. 'Do the finger thing,' says the next parent. 'Crouch down and give me a good web,' instructs the parent after that, and so on. During a brief lull in preschoolers, a couple, probably in their 20s, furtively, quickly, with Spidey-esque dexterity, shoot pictures of themselves with Spider-Man best described as R-rated. Oh, Mary Jane! Only then did they add a sordid web-slinging gesture and bolt out of the gallery, giggling. Spider-Man, see, means a lot of things to a lot of people. Some of it just happens to be disgusting. The exhibit — which doesn't feature what you'd assume it might (there are no clips from Spidey films, only a handful of props and no halfhearted arguments for 'the science of Spider-Man') — is smartly centered on the endless interpretations of Spider-Man the Character who, despite being 64 years old, yet still a teenage spider, has remained remarkably mutable, able to bring in new generations of admirers many, many decades after his sell-by expiration date. Spider-Man is joined here, through archival artworks, trinkets, interactive kiosks and even more statues, by Spider-Rex, Spider-Ham, Spider-Gwen, Spider-Ben, Spider-Byte, Spider-Woman, Spider-Girl, Miles Morales, Madame Web, Spider-Zero, Victorian Spider-Man, Venom, Silk, Spider-UK, Spider-Man Noir, Spider-Wolf, Peni Parker, etc. You see, Spider-Man, explained curator Patrick A. Reed — nicely articulating the endurance of any pop juggernaut — 'is a long-form communal work of art.' Or, in this case, 'a Spider-Mythos.' What is not included here in that mythos — strangely for a show committed wisely to the construction of a character and the artists who shepherded it — is the decades-old debate over who Spider-Man. Let me back up: It's there silently, between well-chosen comic-book panels and reams of wall text. This, I guess, is the problem with museum shows in need of corporate permissions to deliver even an outline of their story: You're never sure how the sausage gets made. Spider-Man the Exhibit, through test drawings and uncompleted comic pages and some breezy writing, smartly illustrates how Spidey became a watershed in pop culture, even something of a progressive: Peter Parker answered to a Black boss in 1967 (Robbie Robertson, editor-in-chief of the Daily Bugle, and not to be confused with Robbie Robertson, the late guitarist/songwriter of the Band). Peter Parker was a teen hero at a time when comic books portrayed teens as sidekicks. Peter Parker, bitten by a radioactive spider and made unimaginatively strong and nimble, still can't outrun money issues, problems with school, philosophical questions about what it means to be so blessed. Even among more respectable children's literature from its time, Peter was a thoughtful creation, his architects never hesitating to use his famous credo: 'Beyond Amazing' is centered on milestones and mythology, including that line: We see (again, using archival drawings and lots of description) how a cry of decency was never so clear to Peter. We see how, again and again and again, he gives up the Spider-Man costume. The irony being, real-world decency was even harder to come by behind the scenes. The exhibit is divided into two large rooms. The first is dedicated to building the character; the other to its ripening and expansion. But the best part comes early, in a series of original comics and art that illuminate the tentative steps to Spider-Man. There's an issue of 'Journey Into Mystery' No. 73, featuring a classic '50s radioactive invertebrate. (The cover screams: 'WHERE WILL YOU BE WHEN THE SPIDER STRIKES?') Alongside that, sample images of Aunt May and Uncle Ben in a different comic, months before Spider-Man's debut. We see Stan Lee asked artist Steve Ditko to work on a comic now awkwardly-titled 'Amazing Adult Fantasy,' sold as 'The magazine that respects your intelligence.' We notice Lee and Ditko listed as co-creators throughout, but nothing on the lingering animosity that credit caused: Lee, a master showman and promoter of Stan Lee, would accept decades of praise for Spider-Man (and other Marvel heroes). Meanwhile, artists such as Ditko (who created the costume and look of Spidey and much of the basic mythology) were mostly known to die-hards. We hear nothing about the years of lawsuits. We do get a single hilariously revealing page of notes from Lee to an artist that says more about the early Marvel assembly lines than nearly anything else in 'Beyond Amazing.' Lee was an editor, writer, ringleader and often the initial spark for a new character: What about a blind lawyer who fights crime using his other hypersensitive senses and was kind of a ? What about a family of transformed into crime fighters? Lee would write a synopsis of an issue and send it to an artist, who would then interpret it into a comic. The page on display at the MSI, from 1969, shows how Lee evaluated an issue then, after picking over images, he filled in dialogue. He also offered directions such as: A museum staffer told me the exhibit fits well in the museum because it's a show partly about the publishing and industry is in the very name of the building itself. And that's not wrong. But what this sole page of notes suggests, and what is missing from much of 'Beyond Amazing,' is a sense of the heat and friction generated when imagination gets shaped by a committee. Indeed, for so long, the Marvel company (like its main competitor, DC Comics) showed so little reverence for its own output, there's astonishingly little material from the process itself, beyond interviews with artists. A lot of the salvaged original art and mock-up covers that survived the first decades of superheroes are not held by Marvel or DC but a few prescient art collectors. The archival objects in this exhibit, Reed said, came courtesy of about eight collectors. Film props, of course, are another story. There's one of Doc Ock's eight hands. Willem Dafoe's Kabuki-like Green Goblin mask. Tom Holland's Spidey suit. The camera Tobey Mcguire carried when he played Peter Parker. By the time the superhero movie bonanza began, no one in this business held their noses around a gold mine any longer. (So much so that one reason there are no film clips in 'Beyond Amazing' is because of the harrowing cost and complication around nailing down likeness rights for movie stars.) For the record, I like a good pop-culture museum show. This isn't a bad one. MSI returns to the well often: Walt Disney archives. Jim Henson archives. Charles Schulz archives. James Bond. The Spider-Man show is its second Marvel show in five years. The Field Museum has a Pokémon show next year; the Museum of Contemporary Art, which had a blockbuster with David Bowie, has Yoko Ono coming in October. All of those brand names are enduring examples of a creative vision. And yet, not one emerged from a vacuum. Now that hand-wringing over whether pop culture belongs in esteemed institutions has subsided, or just been steamrolled by the persistence of museum administrators, it's fair to expect these institutions to bring more blood, sweat and tears to stories of how intellectual properties are assembled. 'Beyond Amazing' makes an admirable point overlooked in other shows like this: A character as ubiquitous as Spider-Man, whose balloon has floated across Manhattan every Thanksgiving Day for nearly 40 years now, transcends ownership — . A cynic would say that's what licensing is for. And sure, one of the best parts of the exhibit is a display of merchandising and international translations and night lights and action figures and Ben Cooper costumes and even the very first Marvel-approved Spidey artifact — strangely enough, a 1965 jazz album by Freddie McCoy. But then every doodad is a riff on a conversation started in 1961 by Steve Ditko and Stan Lee. So are the drawings abandoned by visitors at the end of the exhibit. Look for them. Four drawing tables, baskets of pencils and paper, Marvel artists on video illustrating how to draw your own Wall Crawler. The day I was there, some people left behind artworks good enough for Marvel, and some left behind the sketchiest of sketches. Spidey in a White Sox uniform. Darth Spidey. Those tables were , everyone quietly interpreting Spider-Man. That so many drawings would be left behind suggests not everyone was satisfied with their performance. Most weren't. They had a vision, they executed it. The plan didn't pan out. To make anything that lasts, never mind endures after seven decades, is improbable. To explain just how improbable demands great power and responsibility. Otherwise, it's marketing.

Yahoo

31-05-2025

• Yahoo

Marvel's Ironheart Series Gets Stunning New Poster Ahead of Disney+ Release

With less than a month remaining in the premiere of , Marvel has come out to drop a brand new poster for the upcoming Disney+ series. The one-sheet showcases Riri Williams in a new Ironheart suit with features that mimic the iconic costume of Robert Downey Jr.'s Iron Man. Marvel Studios recently took to social media to share a new poster for its forthcoming Disney+ outing, Ironheart. The colorful promo art shared on X (formerly Twitter) looks like an amalgamation of multiple layers, highlighting half of Riri Williams' face, with a freshly introduced mask covering the other half. Set in the backdrop of what looks like William's hometown of Chicago, the image predominantly contains a palette of four colors, namely white, black, red, and gold. Here's the new Ironheart promo art: While the poster only teases a suit that Dominique Thorne's Riri Williams could don in the Ironheart series, it showcases a design that MCU fans have yet to witness on camera. Additionally, the poster features a tagline, 'Every dream has a cost,' which sets up the high-stakes adventure that the titular character will embark on. Taking place after the events of 2022's Black Panther: Wakanda Forever, Ironheart will follow Williams' journey as she attempts to realize her ambition of inventing technological advancements, including her Iron Man-esque suits. However, along the way, she inadvertently crosses paths with the magical world of the MCU after encountering Anthony Ramos' Parker Robbins, also known as The Hood. In addition to Ramos and Thorne, the Ironheart series will feature the likes of Lyric Ross, Alden Ehrenreich, Regan Aliyah, Manny Montana, Matthew Elam, and Anji White in pivotal roles. The show has already had to endure a significant amount of controversies, with audiences lambasting its first official trailer and Ironheart's co-creator, Mike Deodato Jr., claiming that Marvel did not pay him for the Disney+ series. Regardless, the Ironheart series is on track to hit the small screens with a three-episode premiere on June 24, 2025. Originally reported by Apoorv Rastogi on SuperHeroHype. The post Marvel's Ironheart Series Gets Stunning New Poster Ahead of Disney+ Release appeared first on - Movie Trailers, TV & Streaming News, and More.