Singles are falling out of love with dating apps
Singles are falling out of love with online dating apps, meaning a return to real world introductions, and for some younger daters that's a totally new experience. Match group, the US tech company that owns Tinder, Hinge and OK Cupid saw a 5% drop in paid users in the first quarter of this year. Relationship expert Jess Carbino, who was the sociologist for the dating apps Tinder and Bumble said Gen Z is using apps less. She spoke to Lisa Owen.
Hashtags
Try Our AI Features
Explore what Daily8 AI can do for you:
Comments
No comments yet...
Related Articles
RNZ News
10 hours ago
- RNZ News
Tesla ordered by Florida jury to pay $414m in fatal Autopilot crash
By Jonathan Stempel and Abhirup Roy , Reuters Photo: Jakub Porzycki/NurPhoto/Getty Images via CNN Newsource A Florida jury has found Tesla liable to pay US$243 million (NZ$414m) to victims of a 2019 fatal crash of an Autopilot-equipped Model S, a verdict that could encourage more legal action against Elon Musk's electric vehicle company. The Friday (local time) verdict is a rare win for victims of accidents involving Autopilot. Musk has been pushing to rapidly expand Tesla's recently launched robotaxi business based on an advanced version of its driver assistance software. Tesla shares fell 1.8 percent on Friday and are down 25 percent this year. Jurors in Miami federal court awarded the estate of Naibel Benavides Leon, as well as her former boyfriend Dillon Angulo, $129m in compensatory damages plus $200m in punitive damages, according to a verdict sheet. Tesla was held liable for 33 percent of the compensatory damages, or $42.6m. Jurors found the driver, George McGee, liable for 67 percent, but he was not a defendant and will not have to pay his share. "Tesla designed Autopilot only for controlled-access highways yet deliberately chose not to restrict drivers from using it elsewhere, alongside Elon Musk telling the world Autopilot drove better than humans," Brett Schreiber, a lawyer for the plaintiffs, said in a statement. "Today's verdict represents justice for Naibel's tragic death and Dillon's lifelong injuries," he added. Tesla said it will appeal. "Today's verdict is wrong and only works to set back automotive safety and jeopardise Tesla's and the entire industry's efforts to develop and implement life-saving technology," the company said. The plaintiffs had sought $345m in damages. Their lawyers said the trial was the first involving the wrongful death of a third party resulting from Autopilot. Tesla has faced many similar lawsuits over its vehicles' self-driving capabilities, but they have been resolved or dismissed without going to trial. In June, a judge rejected Tesla's bid to dismiss the Florida case. Experts said Friday's verdict may spur more lawsuits and could make future settlements more costly. "It's a big deal," said Alex Lemann, a law professor at Marquette University. "This is the first time that Tesla has been hit with a judgment in one of the many, many fatalities that have happened as a result of its Autopilot technology." The verdict could also impede efforts by Musk, the world's richest person, to convince investors that Tesla can become a leader in so-called autonomous driving for private vehicles as well as robotaxis it plans to start producing next year. As Tesla's electric vehicle sales fall, much of its nearly $1 trillion market value hinges on Musk's ability to pivot the company into robotics and artificial intelligence. The trial concerned a 25 April 2019 incident where George McGee drove his 2019 Model S at about 100kmh through an intersection into the victims' parked Chevrolet Tahoe as they were standing beside it on a shoulder. McGee had reached down to pick up a cellphone he dropped on his car's floorboard and allegedly received no alerts as he ran a stop sign and stop light before hitting the victims' SUV. Benavides Leon was allegedly thrown 23m to her death, while Angulo suffered serious injuries. "We have a driver who was acting less than perfectly, and yet the jury still found Tesla contributed to the crash," said Philip Koopman, a Carnegie Mellon University engineering professor and expert in autonomous technology. "The only way the jury could have possibly ruled against Tesla was by finding a defect with the Autopilot software," he added. "That's a big deal." Tesla, in its statement, said McGee was entirely at fault. "To be clear, no car in 2019, and none today, would have prevented this crash," the company said. "This was never about Autopilot; it was a fiction concocted by plaintiffs' lawyers blaming the car when the driver, from day one, admitted and accepted responsibility." - Reuters
RNZ News
10 hours ago
- RNZ News
Nashville Babylon: 2 August 2025
This audio is not downloadable due to copyright restrictions. Bonnie Raitt Photo: supplied On this week's show there's weighty blues from Slim Harpo and Lightnin' Slim, Scottish soul from the Fleets, rockabilly the Stray Cats plus a classic cut from Bonnie Raitt. Artist: Stray Cats Track: Stray Cat Strut Composer: Setzer Album: Stray Cats Label: Arista Artist: Jawbone Track: Hi De Hi Composer: Zabor Album: Dang Blues Label: Loose Artist: Robert Gordon with Link Wray Track: The Way I Walk Composer: Jack Scott Album: Fresh Fish Special Label: Private Stock Artist: Los Lobos Track: 300 Pounds Of Joy Composer: Dixon Album: Antone's 50th Allstars Label: New West Artist: Slim Harpo Track: Hippy Song Composer: Moore Album: Slim Harpo Knew The Blues Label: Excello Artist: Lightnin' Slim Track: Rooster Blues Composer: Hicks Album: Rooster Blues Label: Ace Artist: The Fleets Track: Please Return To Me Composer: Doyle / MacCaskill / Kelly / Gallacher Album: Single Label: Stax Volt Artist: Tia Blake Track: Plastic Jesus Composer: Rush / Cromarty Album: Folksongs and Ballads Label: SFP Artist: Lana Rebel Track: Woke Up One Morning Composer: Lana Rebel Album: All I Need Label: Artist: Jerry Lee Lewis Track: Crazy Arms Composer: Mooney / Seals Album: Single Label: Sun Artist: Little Anthony and the Imperials Track: Hurt So Bad Composer: Randazzo / Weinstein / Hart Album: Goin' Out Of My Head Label: DCP Artist: Bonnie Raitt Track: I Can't Make You Love Me Composer: Reid / Shamblin Album: Luck Of The Draw Label: Capitol Artist: Bap Kennedy Track: Loverman Composer: Kennedy Album: The Big Picture Label: Lonely Street Discs Artist: The Faces Track: Ooh La La Composer: Lane / Wood Album: Single Label: Warner Bros Artist: The Noveltones Track: Left Bank Two Composer: Wayne Hill Album: Single Label: De Wolfe Music
NZ Herald
13 hours ago
- NZ Herald
NZ hosts Jason Momoa's ‘Chief of War' as Hawaiian film industry faces challenges
A passion project for Momoa, the Hawaiian star co-created the series with writer Thomas Pa'a Sibbett after years in development. With a reported budget of US$340 million ($575m), it is one of the most expensive television series produced. It is also a milestone in Kānaka Maoli (native Hawaiian) representation onscreen. Controversially, however, the production only spent a month in Hawaii and was mostly shot in New Zealand with non-Hawaiian crews. Momoa has even expressed an interest in New Zealand citizenship, but the choice of location is more a reflection of the troubled state of the film industry in Hawaii. On the other hand, it is a measure of the success of the New Zealand screen industry, with potential lessons for other countries in the Pacific. Kaina Makua as King Kamehameha and New Zealand actor Luciane Buchanan as Ka'ahumanu in Chief of War. Photo / Apple TV+ Ea o Moʻolelo – story sovereignty Set at the turn of the 19th century, Chief of War tells the moʻolelo (story, history) of King Kamehameha I's conquest of the archipelago. Hawaii was historically governed by aliʻi nui (high chiefs) and each island was ruled independently. Motivated by the threat of European colonisation and empowered by Western weaponry, Kamehameha established the Hawaiian Kingdom, culminating in full unification in 1810. The series is an example of what authors Dean Hamer and Kumu Hinaleimoana Wong-Kalu have called 'Ea o Moʻolelo', or story sovereignty, which emphasises indigenous peoples' right to control their own narrative by respecting 'the inalienable right of a story to its own unique contents, style and purpose'. Chief of War is also the biggest Hawaiian television series ever produced. Although Hawaii remains a popular setting onscreen, these productions have rarely involved Hawaiians in key decision-making roles. Sea of troubles The series hits screens at a time of major disruption in Hollywood, with streaming services upending established business models. 'Linear' network television faces declining viewership and advertising revenue. Movie studios struggle to draw audiences to theatres. The consequences for workers in the industry have been severe, as the 2023 writers' strike showed. Those changes have had a catastrophic impact on the Hawaii film industry, too. Long a popular location – Hawaii Five-O (1968-1980, 2010-2020), Magnum P.I. (1980-1988, 2018-2024) and Lost (2004-2010) were all shot on location in Hawaii – it is an expensive place to film. Actors, crew and production equipment often have to be flown in from the continental United States, and producers compete with tourism for costly accommodation. An industry in transition These are not uncommon problems in distant locations and many governments try to attract screen productions through tax incentives and rebates on portions of the production costs. New Zealand, for example, offers a 20-25% rebate for international productions and 40% for local productions. Hawaii offers a 22-27% rebate. But this is less than other US states offer, such as Georgia (30%), Louisiana (40%) and New Mexico (40%). Hawaii also has an annual cap of US$50m on rebates. To make things even harder, Hawaii offers only limited support for indigenous film-makers. Governments in Australia and New Zealand provide targeted funding and support for Aboriginal, Torres Strait Islander and Māori film-makers. By contrast, the Hawaii Film Commission doesn't provide direct grants to local film-makers or producers (indigenous or otherwise). Small amounts of Government funding have been administered through the Public Broadcasting Service, but this is now in jeopardy after US President Donald Trump recently cut federal funding. The Hawaii screen industry faces a perfect storm. For the first time since 2004, film and TV production has ground to a halt. Many workers now doubt the long-term sustainability of their careers. Lessons from Aotearoa NZ While there are lessons Hawaii legislators and industry leaders could learn from New Zealand's example, there should also be a measure of caution. The Hawaii tax credit system is out of date. But despite industry lobbying, legislation to update it failed to reach the floor of the legislature earlier this year. New tax settings would help make local production viable again. Secondly, decades of investment in Māori cinema have led to it becoming diverse, engaging and creatively accomplished. Hawaii could benefit from greater direct investment in Hawaiian storytelling, respecting its cultural value even if it doesn't turn a commercial profit. On the other hand, New Zealand has a favourable currency exchange rate with the US that can't be replicated in Hawaii. And New Zealand film production workers have seen their rights to unionise watered down compared to their American peers. But if Hawaii can get its settings right, a possible second season of Chief of War may yet be filmed there, which could mark a genuine rejuvenation of its own film industry.
