For the rest of her look, she wore Manolo Blahnik pumps, her grandmother’s vintage handbag, diamond earrings that were a gift from her mother-in-law, and a veil made by Gigi Burris. Meanwhile, Alex worked with Ralph Fitzgerald on a bespoke brown mohair suit for the welcome party and a tux for the wedding night. “I don’t know anyone who does it like him—he has the most meticulous eye and style,” says Amah.

For her beauty look, Amah referenced make-up artist of the moment, Nina Park, as well as Gracie Abrams at the Grammys. “We had a similar hair length and skin color and I love how natural her make-up is,” she explains. “I am so grateful that I had the most incredible hair and make-up team. They made me feel completely calm and knew exactly what to do without me really saying or showing them anything. Eduardo Bravo and Charlotte Prevel are angels and truly the most talented.”

The wedding weekend started with a welcome party on the Friday night, for which Amah was planning to wear a dress she had designed with her friend Aline from the brand Esant, but disaster struck. “We had issues in customs and I had to find a new dress five days before our welcome party,” she remembers. “I reached out to Harithand, and they made me a dress in two days, shipped it to Barcelona, and someone was able to grab it the day before our party. It was madness, but everything worked out in the end. Now I have another special dress, waiting to be worn. Maybe we’ll do a 10-year vow renewal.” On the Saturday, the couple hosted a pool party, with Amah working with a local Mallorcan brand, Kettel Atelier, to design a ’70s-inspired caftan with exaggerated sleeves.

The ceremony took place on Sunday in the late afternoon sun under a canopy of ancient trees at Torre Saura, a historic palace in the Menorcan countryside. “We wanted it to feel intimate, timeless, and a little enchanted, like stumbling into a secret garden,” says Amah. “Alex walked out to ‘Sha Doomad,’ a traditional Persian groom’s song, as a nod to his heritage. I walked down the aisle with both of my parents to ‘Endless Love’ by Lionel Richie and Diana Ross.”

After drinks and hors d’oeuvres, and a brief moment on the dancefloor,  guests sat down to dinner by chef Tomas Abellan, with speeches given by the family. “Alex’s sister sang ‘Moon River’ with my grandfather’s wife on a piano,” shares Amah. “It was a really special moment for us.” After dinner, Amah changed into another dress she had designed with Aline from Esant. “It was the perfect take on a slip dress, but more elevated and special,” she says. “Although I was sad to take off my wedding gown, there was no better feeling than to put on my second dress and feel free. I came back out, and we danced under the petals being thrown on us during the Persian tradition called ‘Gol Berizin,’ which literally means to throw petals on the bride and groom. I love this tradition so much and it was such a highlight of the night.”

As the night wore on, guests were led to a secret nightclub. “We transformed a historic stone structure into our own Ibizan retro discoteca called Sa Roqueta, which means ‘little rock’ and is also a nickname for Menorca,” says Amah. “Each room had its own mood—different DJs, different sounds, different little worlds to disappear into. My uncle, the legendary DJ Stretch Armstrong, hopped on the decks to start the night. Our guests changed into their best retro party looks and completely let loose. It was immersive, slightly wild, and probably the most ‘us’ way to celebrate.” Everyone partied until the sun came up.

“The wedding now feels like a beautiful metaphor for our life together,” says Amah. “We dream up something ambitious, slightly impossible, and full of feeling… and then somehow find our way there, usually with a lot of love, a little madness, and some dancing along the way.”

If there’s one thing Portlanders know, it’s rain. Since founder Meyer Blauer stepped outside on a typical Pacific Northwest rainy day in Portland in 1947, Shed Rain has stayed committed to making expertly crafted umbrellas to withstand even the rainiest seasons. Known for expertly crafted umbrellas made to last (with a lifetime warranty, to boot!), Shed Rain has various styles and sizes to fit every dry need. We feature a few models in our guide to the Best Umbrellas and we’ve rounded up some great Shed Rain promo codes to help you save (and stay dry).

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If you’re tired of running your vacuum multiple times just to get the dirt and debris out of the carpets in your living room, Dyson’s 360 Vis Nav is worth a look. It’s one of the more powerful robot vacuums currently available, and now through May 11th (or while supplies last), it’s on sale at Woot for an all-time low of $279.99 ($919 off) with a full two-year warranty.

The last-gen 360 Vis Nav offers a whopping 65 air watts of suction, allowing it to pull dirt, dust, and pet hair from carpets impressively well. In her brief time testing the robovac, my colleague Jennifer Pattison Tuohy said the Dyson “demolished a pile of dry oatmeal in seconds,” adding that she briefly worried it might even suck up the tassels on her large rug (it didn’t). By comparison, many robot vacuums — including Dyson’s new $1,200 Spot + Scrub AI — require multiple passes to fully eradicate the same kind of mess on your floor.

What’s more, the robovac’s small, D-shaped design and the location of its ultra-fluffy brush allow it to dig into edges and corners more effectively than many of the more roundish robot vacuums, while its lower profile lets it easily get under most beds and sofas. The roomy 500ml dustbin also means you likely won’t need to empty it too often, while Dyson’s built-in handle and terrific quick-release button make removing said bin a relatively simple task when it’s time to do so.

While it is undeniably powerful, it’s worth noting that the 360 Vis Nav lacks a few features found on some of its more modern rivals. Although its navigation worked well enough during our testing, it lacks AI-powered obstacle avoidance and doesn’t come with a self-emptying dock. Battery life is also relatively short at around 65 minutes per charge. Nonetheless, if your top priority is quickly removing dust, dirt, and pet hair from carpets without multiple passes, the Dyson remains an option worth considering, especially at this discounted price.

In the “Regular Show” pilot, a mild-mannered blue jay named Mordecai and his scrappy raccoon counterpart Rigby swipe a magical synthesizer from a wizard while he’s peeing in a bush. The instrument, which they name “The Power,” can grant the 20-something-year-olds any wish, as long as they articulate their desires through an improvised song and dance routine. Shenanigans ensue, but it isn’t long until their fun is threatened by the prying eye of Skips, their much more responsible co-worker at the local park. In an attempt to shoo him away, they crank “The Power” up to the max. They sing in unison, “Using ‘The Power’ in your face / Sending you back to your place / Don’t look at our crotches while we synchronize our watches!” It’s their most inspired arrangement yet, but right as they are about to send Skips to his “room,” they flub their lyrics and accidentally send him to “the moon.”

This episode debuted on Sept. 6, 2010. I was nine years old, and it was the funniest thing I’d ever seen.

“When I think back on those days, I’m like, ‘How did they greenlight it?’” says J.G. Quintel, series creator and the voice of Mordecai. “Some of the stuff we were doing was so weird, but it was making us laugh.”

“Regular Show” became one of the most successful series in Cartoon Network’s history. Running for 244 episodes across eight seasons from 2010 to 2017, “Regular Show” chronicled the hijinks of Mordecai and Rigby, two college-age slackers whose pursuits of video games, grilled cheese and time off from work inexplicably descend into intensely surreal, and often life-threatening, emergencies. It was nominated for six Emmys during its time on air and picked up a win in 2012 for outstanding short-format animated program.

And now, after nine years away, Quintel is bringing “Regular Show” back to TV with “The Lost Tapes,” a mysterious reboot that drops viewers back into the world of the Cartoon Network classic. Along with Quintel, original cast members William Salyers, Sam Marin, Mark Hamill, Minty Lewis and Janie Haddad Tompkins are all set to return. Quintel remains tight-lipped about how exactly he’s reviving “Regular Show” after tightly wrapping up the original run, but he ensures that “everybody’s questions” will be answered when “The Lost Tapes” premieres May 11 with a half-hour special. The first 10 episodes will air on Cartoon Network and will be available to stream on HBO Max in June. 30 additional episodes are scheduled for later release.

Weeks before the premiere, Quintel sat down with Variety to discuss Cartoon Network’s golden age, pushing “Regular Shows” TV-PG rating to the limit and what fans, both old and new, can expect from “The Lost Tapes.”

What was it like working at Cartoon Network during, what I think is considered in retrospect, the golden age of the channel?

I remember feeling like the vibe was that Cartoon Network was one of the more creative studios compared to the other ones, and they were able to take bigger swings, bigger risks, and they had all creator-driven shows. I got to work on ”Camp Lazlo” and see what that was like, and then I moved on to “[The Marvelous Misadventures of] Flapjack”, which was Thurop van Orman’s show. We met at CalArts in a screenwriting class. When we got to pitch that show, and he got it off the ground, and we started making stuff, they were very creator-focused. Whatever we thought was funny and was making us laugh, we would try to push it through, and they would have notes and things, but overall, it was very supportive of the creative team and the artists.

And then around the second season of that, there was an executive changeover. I remember that’s when [former chief content officer] Rob Sorcher came in, and he was looking to push Cartoon Network to be a little bit older. And they made the Cartoonstitute, and they were doing shorts, and that’s when I ended up making the “Regular Show” short. I had sent him my film “2 in the AM PM,” which I had made my senior year at CalArts, and I was like, “I want to make something like this” — the vibe of it, like the intensity of the surreal nature of the show, and how that could be pushed. After pitching the show and getting it greenlit, and after making the pilot, they didn’t really have any notes. Then the first couple of episodes, we were just making it for ourselves. Again, they didn’t really have notes, and they were saying, “We want to do TV-PG stuff, and we want it to be pushed a little bit further.” That whole first season let us go to town and just do our thing.

You first drew Pops, Benson and Mordicai in college. Was the idea for “Regular Show” also in your back pocket when you started pitching?

No. The reason that I put all those characters back together was that it takes a long time to find new characters. Having spent a year on each of those films, it felt like, “Oh, I really like those character designs, and I want to use them again.” They had done well at school, like, people were laughing at the screenings, and so I was like, “These characters work. I want to put them together.” Then I needed to round out the cast, because it wasn’t enough. Adding Skips, Muscle Man, High Five Ghost, that was just pouring through my sketchbooks and finding things that I thought were funny, and trying to piece them together until it felt like, “Oh yeah. This feels like the crew.”

That was one of the only big notes that Rob Sorcher had on that initial, early pitch. “Regular Show,” conceptually, was going to be about these guys working at a zoo, but in the zoo, it was going to be humans instead of animals, and they were the animals. And he was like, “You don’t need that.” And I was like, “Huh, I guess you’re right.” And so it was like, “Well, I’ll just make them work at a park.” They’re just doing kind of mundane, everyday chores that we all get, whether we’re kids or adults, like working in a first job or whatever, and I think everybody can relate to being like, “I don’t feel like doing that right now.” It made it really easy to reset and make another episode each time.

What was it like going from a supporting role on your previous shows to creating, starring in and steering the ship of one of Cartoon Network’s most popular franchises?

When you’re working on someone else’s show, like “Flapjack,” I was the creative director on that, and my attitude working on any show up to that point was like, “Let’s just make it as good as it can be.” I had a lot of energy and was always trying to find ways to push stuff. For every episode, trying to be like, “Dude, we can have no bad episodes. Let’s just make them all good.”

So when “Regular Show” started, it was hard because it was my own thing, so I cared about it even more. I was really picky about everything and trying to find people who could match the tone and the sensibility, and watching what they would do with it, and being like, “Oh my God, that is hilarious. I never would have thought of that.” And then having other things come through where it’s like, “It’s not right. I know we could do better than that.” In this job, usually you’re the last round of notes, and if you want to change it, you just have to do it. You don’t get paid extra or anything. You’re always pushing yourself to make sure the episodes are good and that you think they’re super funny, which gets harder and harder down the line. Because you’re like, “We already did that episode. I know that we can be funnier than this. We’ve done ones that were like, crazy funny.”

And the added intensity of the ticking time clock, because once the show is greenlit, every week, you have to turn in the next one, and every week, and you’re checking, say, 20 episodes at a time, at different parts of the process. You really lean on your team. Once you find the group that really gets it, and they know what they’re doing, and they’re making stuff better than you even would make, it’s really fun.

Why do you think “Regular Show” resonated with audiences as well as it did?

When I was making student films, one of my favorite parts was going to the screenings and seeing whether or not people thought it was funny. If you get a big laugh, it feels good, especially after working so long. This is a similar thing, except you don’t really get to go out and watch people watch it, because it goes out to the world on television. But I’ve run into people who’ve seen it, and they like it, and they grew up with it. But running into people who weren’t born when it was on, or born afterwards, and they found it through streaming, and they still think it’s funny, has been wild. Once we ended the show, maybe eight years ago or so, it was like, “Oh, it’s over. Like, it’s done,” but I forgot that it’s still airing. And for some people, they’ve never even seen it or heard of it, and so when they find it, and it clicks, it’s really cool to think that it can hopefully be timeless.

We really tried to make something that would be funny, no matter when you find it. It wasn’t about pop culture events or something super topical. It was always just within that world and based on stuff that we were growing up doing as kids, or definitely stuff we were doing in college. I feel like they’re totally moments, no matter when you grew up, of you and your friends getting really excited about something, like being down to wait in line for some weird food thing, or a movie that you’re not supposed to see, or to finally get that video game that you wanted to play. I feel like that is exciting to everybody, because we’ve all been through that.

You really pushed the limits of your TV-PG rating on “Regular Show” with some of the language and allusions to adult themes. I remember many episodes where the guys were miraculously getting drunk off soda and hot wings. Was it difficult to push that stuff through?

We were all just trying to make ourselves laugh, and it was within the parameters of this TV-PG show. So, you know, they had to be drinking soda, they had to be eating hot wings. And if you get it, you get it. And if you don’t, maybe watch it again when you’re a little bit older. Usually, we’re the pickiest ones about the episodes, and we would totally get episodes all the way up to an outline and then shelve it and be like, “Nah, it’s not good enough.” But the story I tell the most is about “Eggcellent.” We initially wanted it to be about Rigby trying to eat this 12-egg omelet to win a hat, but then he just barfs, and the barf comes to life and, like, trains him to do the challenge so he can win. And they were like, “You can’t have barf come to life.” We’re like, “Dude, it’s gonna be funny.” And finally, after a long time of pushing on it, we were like, “Well, what if it wasn’t barf? And what if Rigby goes into a coma, because he’s allergic, so then Mordicai promises to win it for him?” It ended up being way better, and we won an Emmy for that episode.

I remember back in the day, we were two or three seasons in of doing this type of stuff and getting it in, and it’d be on TV, and then eventually, I think the show got some calls to the point they were like, “We need you guys to tone it down and take some of that stuff out.” And we had to retroactively pull some of the language and some of the stuff they don’t let us get away with as much. But we have been able to lean back on what made us so popular. We’re like, “That’s part of what made it so cool.” I’m so excited for the new season, because I feel like we’ve got a lot of that vibe.

Were the calls from parents or the network?

I feel like it was parents, because if the executives were only getting good calls, they’d probably be like, “Keep doing it.” It was definitely getting the ratings, but I think as more and more people watched it, some more critical people maybe started to become aware of it, and they were like, “Hey, you can’t do that!”

How do you reflect on that original run, considering the current state of the entertainment industry?

We’ve talked about it a lot on the show. We brought back a lot of people from the original run, and we’ve all been on shows since then, and a lot of us didn’t realize what we had when we were on “Regular Show.” That first season was 12 episodes, which sounds more like what they would do today, and then the second season, they were like, “Do 28 more.” And after that, it was like 40. And they kept just banging out 40 after 40 after 40, and then do a movie, and then do 40 more. For a lot of us, we worked on that show for almost 10 years straight with small hiatuses where you knew you had something to come back to, which is really nice. Now it feels like everything is so truncated and short. “10 episodes, and then wait until it streams to see if it’s got numbers, and then we’ll call you back.” But usually, everybody’s already found other jobs, so you have to gear up a whole other crew and retrain them every time. But back then, we were just having a good time. Not that we took it for granted, but I don’t think we realized how rare it was to be on something that could have that kind of longevity.

Having it back, even this time around, we were kind of shocked that they, right out of the gate, [wanted] 40 episodes, because we’re not used to that. A lot of people on the show have never been on a show with that long a run. Then some people have not worked in person together, but we’re already just like the old days. We’re having artists pitch on the walls, and everybody’s together doing it. It’s super fun.

How did “The Lost Tapes” come about?

So a couple of years ago, I was in development here at WB, and [former VP of series] Lauren Martinez asked me if I wanted to think about bringing back “Regular Show.” I was like, “I don’t know,” because we really wrapped it up in the first run. It was complete, and it meant a lot to all of us. So I was like, “Well, I need to call Sean.” So I called up [writer/producer/storyboard artist] Sean Szeles, who was on the show the whole way through, and we had a bunch of meetings talking about it. Like, “What would we do with it? How would we bring it back? Do we even want to bring it back?”

We finally landed on an idea that we were really excited about that would get us back into it. So we pitched that to the network, and then they greenlit it for 40 episodes, and we were like, “Okay!” So then we started getting the crew back together, and it was like riding a bike. It’s really cool to come back to it after eight years, because I feel like we had really fresh eyes. Having not worked on it for so long, we had so many different experiences going out in all our different ways. So there were all these new ideas that we never would have come up with back then, if we had just kept going.

Why is now the right time for a “Regular Show” reboot?

I know a lot of studios are bringing back reboots, and that’s just part of the business. But, for us, after the pandemic, and going back out more and running into people, we realized how many people watched the show. I prefer to kind of recede into the darkness when it comes to being out in public. Animation is definitely for shy people. And people were coming up to me, and I was like, “What? How do you know my name?” Or I’d be ordering a burger, and the dude would be like, “Dude, are you J.G. Quintel? It’s free.” And, like I told you, meeting kids who weren’t even born when it came out, and they’re like, “It’s my favorite show ever.” So I was like, “Man, people really like it.”

It still clicks. To get the chance to bring it back, we still have so many stories to tell for people that maybe still are yet to be born that might find it and be like, “Oh, dude, this show is so good,” and then have the original run to watch as well. It’s really exciting, because I’m like, “Oh, if they haven’t seen it, they get to watch it for the first time.” That’s so cool.

Considering you wrapped up “Regular Show” so nicely the first time, how did you go about dropping us back in that world? Are you retconning the lore?

That was one thing we’re trying really hard to keep for people’s first watch because it’s one of those things with reboots, you’re like, “Are they gonna change the way it looks? Who’s gonna come back?” At the end of the first run, we had characters die, so it’s like, how do you bring it back? But the first episode is going to answer everybody’s questions about how we are bringing it back. It’s a really cool episode that’s like a half-hour special and a different structure than we’ve ever done in any episode. We had to pitch the network to be cool with it. It’s super cool to get you back into “Regular Show,” and then after that, it’ll just be so fun to watch the rest.

Will there be serialized storylines, or is “The Lost Tapes” a collection of classic, one-off episodes?

It’ll be important to have watched it all, and there will be a payoff. Watching it through to the end will be really satisfying.

I only got two episodes ahead of time, and both of them centered around Eileen and Margaret. Are the side characters going to have bigger roles in “The Lost Tapes”? Are there plans for new characters as well?

There’s going to be plenty of Mordecai and Rigby hijinks throughout, the classic stuff. But we wanted to take other characters that were off to the side in most of the series, and explore their backstory more. Beyond Margaret and Eileen, there are going to be other characters that get their own episodes here and there. And there’s going to be some new characters.

This interview was edited for clarity and length.

In a battle of the genders, New Line’s video game adaptation Mortal Kombat II and 20th Century’s The Devil Wears Prada 2 are in a close race for No. 1 at the domestic box office.

The Mortal Kombat sequel, fueled by males, topped Friday with an opening-day gross of $17 million range, including $5.2 million in previews and special Imax sneaks. That puts it on course for a domestic opening in the $40 million to $41 million range; ditto for Prada 2, which came in second Friday with $9.8 million for a stellar domestic total of $111.6 million and well north of $300 million globally.

Heading into the weekend, some tracking services showed Mortal Kombat II opening to $45 million or more. New Line and parent company Warner Bros., however, had always predicted a far more conservative launch in the $35 million range to $40 million range for a worldwide bow anywhere between $65 million and $80 million. Males made up more than 75 percent of Friday’s audience, which bestowed the film with a B+ CinemaScore.

In 2021, the first Mortal Kombat debuted simultaneously in theaters and on HBO Max due to the ongoing pandemic. The violent-laced martial arts pic was a huge streaming hit; theatrically, it debuted to $23 million on its way to topping out at $42 million domestically and $84.4 million globally. Simon McQuoid returning to helm Mortal Kombat II from a script by Jeremy Slater and Karl Urban joining the franchise as fan favorite character Johnny Cage, a washed up ’90s action star called to take part in a tournament that will determine the fate of Earthrealm.

The victor of the weekend box office will all come down to Mother’s Day traffic. That would seem to give Prada 2 an advantage, since it’s fast on its way to becoming the biggest female-driven film since Warner Bros.’ Barbie in 2023 after kicking off the summer box office last weekend in high style. The sequel finished Friday with a global total north of the $326 million earned by the first film in its entire run.

And don’t forget about Lionsgate’s Michael Jackson biopic, which should earn a fantastic $35 million-plus in its third weekend for a projected domestic tally of $240 million and $570 million globally. On Friday, it overtook the $216.7 million earned by Bohemian Rhapsody to become the top-grossing music biopic of all time in North America, not adjusted for inflation. And in a second milestone of the day, it crossed $500 million worldwide.

Other new Mother’s Day offerings, in addition to Mortal Kombat II, include Amazon MGM’s The Sheep Detectives. The critically acclaimed film is headed for a fourth-place finish with a pleasing domestic opening of $14 million to $15 million after earning an A CinemaScore. The comedy-mystery follows a flock of talking sheep who are determined to solve the suspicious death of their beloved shepherd, played by Hugh Jackman, who read them detective novels on a regular basis despite having no idea they could understand him. Phil Lord and Christopher Miller, directors of 2026 box office hit Project Hail Mary, are among the film’s executive producers.

Paramount’s new concert film Billie Eilish — Hit Me Hard and Soft: The Tour (Live in 3D), which James Cameron and the artist co-directed, is expected to round out the top five with a domestic opening of $8 million. The pic is coming in on the higher end of expectations (the same goes for Sheep Detectives). Cameron pioneered special 3D cameras designed to make moviegoers feel as if they were part of a live experience that he used when filming Eilish.

And thanks to the appeal of the crowded Mother’s Day marquee, domestic box office revenue is expected to be up more than 87 percent over the same frame last year.

More to come.

With fewer guests, fewer reporters, and no military hardware on display, Moscow’s Victory Day parade was a much quieter affair than usual on Saturday.

The annual showcase of military might was scaled back due to security concerns, with Russian authorities fearing Ukrainian forces could target Red Square with a drone strike.

A last-minute ceasefire, brokered by US President Donald Trump, saw Kyiv agree not to attack the parade.

But the smaller display, with none of the usual tanks or ballistic missiles, is a reminder that Russia’s war on Ukraine may not be going to plan.

The BBC’s Russia editor Steve Rosenberg was one of the few foreign journalists allowed to attend this year.

While major motor shows in Europe and the United States are being forced to downsize or change their format, those in China continue to expand.

With 1,451 vehicles on display, including 181 world premieres, the 2026 Beijing International Automotive Exhibition 2026 (also known as Auto China 2026) has become the largest auto show in history—and that’s in terms of both exhibition space and the number of vehicles on display.

This fact itself reflects a shift in the center of gravity of the automotive industry, but that’s not all. A much larger structural transformation is actually taking place in China today.

Previously, the focus was on low-priced electric vehicle models, but now price is no longer the primary point of competition. At the show, not only were there many high-end EVs and large SUVs from Chinese manufacturers equipped with advanced driver-assistance technologies and AI functions, but these technologies are also rapidly spreading to the lower price range.

Chinese manufacturers’ cars offer many technologically impressive features. Lidar sensors, which use lasers for advanced driver assistance, are now even being incorporated into EVs costing less than 100,000 yuan (approximately $14,500). Models featuring “drive-by-wire” technology, which replaces mechanical steering connections and hydraulic brake lines with electrical signals, are appearing prominently. Even Toyota’s local models are using Huawei’s powertrains and smart cockpit OS.

The simplistic dichotomy of “cheap Chinese cars versus high-end European cars” no longer holds weight. While staying competitive in the low-price market, Chinese manufacturers are also gaining leadership in areas such as AI, driver-assistance systems, in-car chips, smart cockpits, and high-performance EVs.

These 19 particularly noteworthy models from the 2026 Beijing Motor Show best embody this evolution.

XPeng GX

Courtesy of Xpeng

There is a fundamental difference between a car designed for autonomous driving and an existing car that’s had autonomous driving technology added to it. XPeng Motors’ GX is the former, a model in which sensors, computing infrastructure, and AI models with Level 4 autonomous driving in mind were designed first, then built into a new SUV bound for the commercial market.

Equipped with up to four proprietary AI chips, it boasts a total computing power of 3,000 tera operations per second—approximately 12 times the 254 TOPS that a single Nvidia Orin is capable of. The latest AI model in the vehicle can recognize spoken commands as well as the images captured by car’s cameras, and it can understanding and adapt to the current driving conditions.

Volkswagen has adopted XPeng’s AI chip and driver-assistance technology in its EVs, meaning XPeng is no longer just an EV manufacturer. It’s becoming a platform provider supplying the brains behind autonomous driving to Europe’s largest automaker. The price is 399,800 yuan (approximately $58,000).