logo
Watch The World's First Humanoid Robot Kickboxing Match

Watch The World's First Humanoid Robot Kickboxing Match

Forbes2 days ago

Unitree G1 robots in a kickboxing competition in China.
52% of U.S. workers are worried about robots replacing them on the jobsite, according to a recent Pew Research finding. Now we might have to add UFC fighters to those numbers, since China's Unitree Robotics staged the world's first-ever humanoid robot kickboxing match.
The robots, honestly, aren't yet amazing at punching and kicking each other, and sometimes fall off-balance while attacking or defending themselves. But, like the humanoid robotic half-marathon held in Beijing in mid-April, it's a start.
And with the pace of innovation in humanoid robot development, it's going to get much better.
The kickboxing match featured four Unitree G1 robots, which are relatively small for humanoid robots at just over four feet tall and under 80 pounds in weight. Their punches generally lacked power because the G1 robots are fairly slow, meaning they essentially pushed each other with their boxing glove covered hands rather than actually snapping a punch with pace into their opponent's heads.
Kicks were similar, and some kneeing attacks just hit thin air as their robotic opponent spun out of the way. However, the G1s featured excellent return-to-standing ability after slipping or being knocked down, even when getting tangled up in the boxing ring ropes.
For now, the humanoid robot kickboxing competition is something interesting, but not for its combat entertainment value. There isn't a huge amount of that, but the fact that the robots are fighting at all is astonishing.
And it's somewhat promising.
I love combat sports, but it's a guilty pleasure. I've mostly stopped watching mixed martial arts competitions, because it's just so destructive to human health and wellbeing: two fighters who have trained themselves to the peak of human strength, flexibility, and capability proceed to utterly destroy each other, with potentially long-term health and wellbeing impacts, particularly to their brains.
Humanoid robot combat sports might offer the interest factor without the inevitable human carnage that results.
The fight was broadcast on Chinese state television, Asia Times says. Fight training was handled by AI:
'It is not easy to teach robots different movements,' Wang Qixin, a director at Unitree, told Chinese Central Television. 'We used artificial intelligence (AI) technology to train them.'
Innovation in humanoid robots is ramping up significantly, Apptronik CEO Jeff Cardenas told me in a recent interview, and AI is a major driver of that.
'I think we're on this exponential curve,' he says. 'I think the simple way of explaining it is we're moving from pre-programming robots and modeling the world to where the robots can now learn [themselves].'
Apparently, that's not just how to move boxes, tighten screws, or mop floors. It's also how to throw a punch and deliver a kick.

Orange background

Try Our AI Features

Explore what Daily8 AI can do for you:

Comments

No comments yet...

Related Articles

Meet The Billionaire Behind Netflix's Biggest Rival In Japan
Meet The Billionaire Behind Netflix's Biggest Rival In Japan

Forbes

time26 minutes ago

  • Forbes

Meet The Billionaire Behind Netflix's Biggest Rival In Japan

I n 2021, TV remote controls with a dedicated U-Next button became widely available in Japan, providing single-click access to a popular, homegrown streaming service. Since then, U-Next has overtaken Amazon Prime Video to become Netflix's biggest rival in the country by market share, according to Tokyo-based research firm GEM Partners. ss With 4.6 million subscribers (as of February) U-Next is a minnow compared with global streaming giants with their hundreds of millions of viewers around the world, but it can boast of having one of the largest local content libraries, including programming from Japanese broadcasters TBS Holdings and TV Tokyo Holdings. U-Next subscribers get a lot else—the latest Hollywood blockbusters, live streams of music concerts, English Premier League soccer matches and hit TV series like The White Lotus, plus online access to e-books, comics and magazines. The subscription package also gives them points every month that can be used to buy movie theater tickets and access new releases. The viewer-friendly approach has made the streaming service provider, which is owned by listed U-Next Holdings, an established name in Japan. But Yasuhide Uno, the company's 61-year-old president and CEO, who built $2.6 billion (market cap) U-Next from a troubled family business, is eyeing much more. For one, he's determined to more than triple company revenue to ¥1 trillion ($7 billion) by 2035. 'It's not just a number to me,' says Uno in an interview in his spartan office at the company's Tokyo headquarters near bustling Meguro station. 'If we maintain 10% [annual] growth, that trillion-yen target will be achievable.' Lately, U-Next appears to be on track. The company reported double-digit growth in the fiscal year through August 2024, with revenue up 18% to ¥326.8 billion and net profit increasing 40% to ¥15.4 billion. The company says it expects to maintain the momentum in the current fiscal year, with a revenue target of ¥360 billion and net profit of ¥16.7 billion. Bullish investors have pushed up U-Next's share price nearly 40% over the past year. That boosted Uno's net worth by roughly the same percentage to $1.6 billion, placing him at No. 34 in the ranks of Japan's richest. U-Next has other businesses that are even bigger contributors to operating profit than entertainment, though they are less visible. The company provides a range of services such as piped music, point-of-sale machines, IT and cloud services, and catering robots to some 860,000 stores, restaurants, salons, hotels and hospitals across the country. It also supplies broadband services and green energy to businesses and households, and has lately expanded into payment services and real estate. 'From the time I first met Uno-san in the early days of the internet boom in Japan, he had a vision for the transformative power of connectivity.' Analysts say U-Next is less vulnerable to domestic and global headwinds as the bulk of its revenue comes from subscriptions or term contracts. 'About 80% of its revenue is recurring. These services have the nature of continuous sales growth as the number of customers increases,' Aizawa Securities analyst Naoto Takahashi wrote in an April note to investors. Uno's ambition for U-Next goes beyond hard numbers. He wants to cement his legacy by making the company an icon of Japan Inc. 'I often talk about wanting to become a company that is needed and represents Japan, a company that is known and trusted, and one that Japanese have high hopes for and love,' he says. Shunichi Oda for Forbes Asia It's been a tumultuous two-plus decades for Uno since he stepped into his late father's shoes in 1998. Mototada Uno started a business in 1961 in Osaka to provide background music through coaxial cables to retailers and restaurants. Osaka Yusen Broadcasting as it was called then, expanded nationwide with a footprint covering 80% of the country. Uno insists that he never had any desire to join the family business. 'Absolutely not,' he avers. 'My father was rather against succession too. In my mind, I wanted to start and run my own company. I thought my older brother [Yasuhiko] would take over if there was a family succession.' After studying law at Meiji Gakuin University, he worked at a real estate company that was developing condo projects in Tokyo. In 1989, he cofounded Intelligence, a recruitment services firm, which he ran as CEO. When Mototada was suddenly diagnosed with terminal cancer at age 63, he turned to his younger son. 'My father was told that he only had three months left to live,' Uno recalls. 'I think he thought that as I had already started a company and was getting ready to list it, that I was prepared as a manager.' Uno was anything but prepared for what lay ahead. The cables being used to relay piped music had been strung on utility poles without permission from the government or utility companies. Moreover, the company had piled on ¥80 billion in debt, backed by personal guarantees from his father. It took Uno a couple of years to secure permission from the then- Ministry of Posts and Telecommunications for the over 7 million poles the company was using—and put ¥50 billion toward accumulated fees. Repaying debt took much longer. For the fiscal year ended August 2024 With a cleaner slate, Uno could focus on expansion beyond the legacy piped music business. In 2000 he renamed the company as Yusen Broad Networks to reflect his next move: upgrading the cable network to introduce what it says was the world's first commercial optical fiber broadband service—starting in Tokyo and eventually extending it nationwide. Uno strongly believed that the internet would 'change society' and that video distribution was the next big thing. 'From the time I first met Uno-san in the early days of the internet boom in Japan, he had a vision for the transformative power of connectivity, especially for how streaming services could revolutionize entertainment,' says Hiroshi Mikitani, founder and CEO of Japanese e-commerce giant Rakuten, by email. 'He's one of the most relentlessly driven leaders I know.' Mikitani and Uno collaborated to start a paid content platform in 2001 called Showtime—six years before Netflix debuted its streaming service—that showed movies, dramas, anime and sports. (In 2009, Rakuten bought out Usen's 50% stake in the platform for ¥1.8 billion, which by then had 60,000 titles and 1.1 million subscribers.) Uno doubled down on streaming, and in 2005 he changed his company's name to Usen, launching a free (advertiser supported) video content streaming service called GyaO that offered local TV programs and movies as well as overseas fare. Two years later, he launched a paid subscription service called GyaO Next, the predecessor to U-Next. (GyaO caught the attention of Yahoo! Japan, which spent ¥530 million to acquire a 51% stake in 2009 with the aim to build one of the nation's largest video distribution platforms.) Usen began to unravel alongside the global financial crisis. In a two-year period through August 2009, the company posted losses totalling over ¥113 billion, mainly due to Uno's aggressive acquisitions that included Intelligence and karaoke-equipment and music distributor BMB, which resulted in write-downs. By 2010, the company's lenders finally had enough and Uno was forced to step down. 'More is learned from people who have experienced various setbacks than from executives who've had straight line success.' Uno had listed Intelligence on Jasdaq in 2000, made it a Usen subsidiary in 2009, but then had to sell it to PE firm KKR a year later for ¥32.5 billion. According to Hiroshi Kodama's 2020 book, An Entrepreneur's Courage: The Rise and Fall of Yasuhide Uno's Ventures, he was under heavy pressure from banks to repay the loans because of concerns over hitting lending covenants and to quit. Uno admitted in local media interviews that he struggled to cope in the aftermath. Uno now says his frankness is appreciated. 'People often tell me that they were encouraged,' he says. 'More is learned from people who have experienced various setbacks than from executives who've had straight-line success.' At the time of his departure from Usen, Uno negotiated a ¥10 million deal with the company to acquire the money-losing businesses of subscription-based streaming and personal broadband services. These two businesses were housed in a company called U-Next, which was spun off from Usen. Luckily for Uno the timing worked out. With internet penetration in Japan picking up pace, both businesses gained traction. In 2014, the company was stable enough for him to pull off a public listing of U-Next on the Tokyo Stock Exchange startup bourse Mothers. In 2017, Uno orchestrated a complicated merger to reclaim control over Usen as well as his CEO's position by leveraging his nearly two-thirds stake in U-Next and the roughly 30% shares he still owned in Usen. He ended up eventually with about 70% of the combined Usen-Next Holdings, which last year he renamed as U-Next Holdings. (Uno now holds a stake of under 60%.) Uno believes that Japan's streaming market, which got a boost during Covid-19 lockdowns, is poised for another growth spurt. GEM Partners projects that it will expand over 50% to nearly ¥790 billion in revenue by 2029 from ¥526 billion last year. Drawing a comparison with the U.S. market, Uno sees ample room for growth. In Japan, per GEM, roughly 40% of Japanese have paid for streaming subscriptions, with an average of 1.8 per household. According to Deloitte's March 2025 Digital Media Trends report, 90% of Americans have at least one paid streaming service, with the average household subscribing to four. While he acknowledges that Japanese audiences are used to getting content for free, Uno maintains there's potential to hit 60%. U-Next is targeting 10 million subscribers in the next decade—equal to Netflix's current subscriber base in Japan. The American giant's competitive pricing poses a challenge, however. U-Next's monthly fee of ¥2,189 for unlimited viewing is considerably more than Netflix's standard no-advertising plan of ¥1,590 and more than double its cheapest plan with ads at ¥890. *Estimated total revenue for streaming video-on-demand providers in Japan (including domestic and international players) in 2024 'The price is high, but customers can access new releases…and other content like manga,' says Aya Umezu, Gem's CEO. 'While overtaking Netflix will be difficult based on the number of users, it's very possible based on revenue because of its high monthly fee.' U-Next has an 'overwhelming' amount of content, adds Umezu. Last year, U-Next inked an agreement with Warner Bros. Discovery for brands on its Max platform such as the Discovery Channel, Animal Planet and HBO. Uno acknowledges that the 10 million subscriber target may be difficult to achieve organically. 'In a red ocean and our industry, companies that can't survive will be merged with others, something that's already happening,' he says. In 2023, he struck a pivotal deal with a local company that beefed up U-Next's Japanese content substantially—giving it a fighting chance to compete with streaming giants. A stock swap with Premium Platform Japan (owned by TBS, TV Tokyo and others), which operated the paid subscription platform Paravi gave U-Next more subscribers and access to about 19,000 titles including reruns from Japanese TV broadcasters. Uno hints that more such deals could follow. In addition to streaming, U-Next plans to grow its other businesses by leveraging its 2,000-person sales force and 1,000 technicians to help cross-sell its services and expand its presence in under-penetrated segments. For example, fewer than a third of hospitals in Japan and under a fourth of business hotels use automatic-payment machines. Last year, U-Next acquired payment service provider NetMove for nearly ¥5.8 billion to provide cashless payments, complementing the company's point-of-sale services. Uno has also set his sights on growing overseas but in a measured way. In the streaming business, the partnership with Warner has expanded, giving the American company the rights to distribute U-Next's Japanese content globally. In February, U-Next set up a Malaysian subsidiary to develop and franchise Halal-approved virtual restaurants. U-Next made a foray into food with the 2023 acquisition of WannaEat, a food-delivery service then called Virtual Restaurant, for an undisclosed amount. 'I know very well that going overseas isn't easy,' he notes. Uno has traversed tougher terrain. After he left Usen, he got obsessed with triathlons, eventually qualifying for the 2015 World Triathlon Long Distance Championships in Sweden, where he managed to cross the finish line. The gruelling experience taught him a lesson that has probably helped him navigate his eventful business career: 'When doing challenging sports, you somehow start to think that no matter how tough it is, it will eventually end.' Not satisfied with streaming content into millions of Japanese homes, Uno became a movie producer on the side. An avowed film buff—in college, he would watch one or two movies every night—he set up his own production outfit called Uno Films in 2019. Its only movie to date, a 2022 drama called The Wandering Moon, about a fateful friendship between a young man and a girl, got six nominations for the Japan Academy Film Prize, including for best actor and actress. The company says it has more projects in the pipeline but declined to elaborate. The Wandering Moon, movie poster Uno says he's not contemplating giving up his day job anytime soon. But he's readying potential successors through a year-long, internal training program. (Uno's two adult children aren't involved in the company.) Monthly sessions focus on topics such as devising a business strategy and developing leadership skills. The program, which asks participants to analyze business books and case studies, has run for two years; Uno attends about half the sessions and talks about the lessons he's learned. 'Uno-san has weathered storms that would have broken most businesses,' says Rakuten founder and CEO, Hiroshi Mikitani. 'His resilience and unwavering focus are an inspiration to me, and to business leaders everywhere.'

Hollywood's new obsession is a twist on the classic soap opera
Hollywood's new obsession is a twist on the classic soap opera

Business Insider

time39 minutes ago

  • Business Insider

Hollywood's new obsession is a twist on the classic soap opera

Mini-drama apps made popular in Asia are surging in the US — and Hollywood is taking notice. These apps are best known for their soapy melodramas featuring princes, werewolves, and more, which are presented in bite-sized vertical episodes and meant for mobile phones. China-backed ReelShort is the most prominent purveyor of these, with typical titles like "The Double Life of My Billionaire Husband." Another top player is DramaBox. Hollywood has been trying to figure out how it can capitalize on the mini-drama craze, and studios like Lionsgate have been evaluating opportunities in the space. "I get an overwhelming number of questions about this topic every week," said David Freeman, head of digital media at CAA. " Talent is actively exploring the space, creators are drawn to it due to the low cost of content production, and major companies are evaluating their strategic approach." Freeman said some key questions were which categories work well and whether the format could be expanded to the unscripted realm. "In time, I anticipate that Netflix will find a way to successfully integrate vertical video and potentially make it part of their strategy to engage Gen Z audiences," he continued. As TV and streaming giants spend more money on sports at the expense of traditional TV and film, producers, studios, and other players are casting around for other entertainment markets and ways to serve audiences on the cheap. Social-media stars have already been getting a second look from Hollywood. And now, so are mini-dramas. Industry players said they'd taken note of the marketing on TikTok that the mini-drama apps are throwing behind their stars. App tracker Appfigures counts 215 short drama apps in the US and estimated US spending on them more than doubled in the past 12 months, to more than $100 million a month in gross revenue. Hollywood is curious about mini-dramas Agents and others told Business Insider that while Hollywood is buzzing about mini-dramas, companies are generally still in the initial stages of exploring the format. One traditional player that's making concrete moves in the space is TelevisaUnivision. It's planning to debut 40 telenovela-style minidramas on ViX, its streaming platform, and intends to expand to other genres like docs and comedy. Others are at least mini-drama curious. Lionsgate, for one, has been in the early stages of exploring the format, a person familiar with the studio's plans said. Hallmark is another studio that's discussed the format internally, a person familiar with the company's thinking said. Select Management Group, an influencer talent management firm, is looking for mini-drama actors to sign, primarily those prominent on ReelShort. Select's Scott Fisher said verticals have "become another place you find talent," much like YouTube birthed digital stars like MrBeast and Emma Chamberlain. People have questions Despite Hollywood's interest, it's unclear how these vertical dramas could fit into the traditional film and TV system, which emphasizes high production values and guild-protected talent. And people in Hollywood told BI they had plenty of questions. Here are a few: These mini-dramas often fall below the budget threshold that would trigger certain rules from the Hollywood guilds. But how can legacy companies take advantage of these productions' low costs without alienating the guilds and their members? Soapy melodramas are the most popular form of vertical series, but are they extendable to other genres such as reality TV, docs, and true crime? A+E Global Networks is taking the unscripted route, launching a slate of original series for mobile around its History brand in an effort to reach young viewers. Can they make real money? The appeal is that they're cheap to make, but how big of a business can they be? And what's the right mix of revenue between ads and viewer payments? ReelShort parent Crazy Maple Studio's founder Joey Jia said last year that viewers typically paid $5 to $10 a week. How should they distribute them? TelevisaUnivision has its own platforms to post such shows. But production companies that don't have their own distribution arms could use the likes of TikTok or YouTube and share the revenue with the platform. Are these dramas too far out of Hollywood's comfort zone for it to get right? Hollywood insiders remember how Quibi, Jeffrey Katzenberg's idea to make quick-bite shows, went down in ignominy. The big difference is that Quibi's episodes were more highly produced than today's vertical dramas and didn't employ a "freemium," pay-as-you-go model. 'It's just a matter of time' Some media insiders think it's inevitable that big streamers and studios will at least test the format's potential. They've already shown some willingness to play with different formats and distribution platforms. For example, Paramount put "Mean Girls" on TikTok in 23 segments lasting one to 10 minutes. And YouTube and Amazon's Prime Video could make sense as distributors because they're already set up as platforms that allow people to rent or buy individual movies or shows. "There's just a question of how far are they going to stray from doing what they normally do," Fisher said of the Hollywood players. Industry analyst Evan Shapiro sees mini, vertical-shot dramas as "toilet television," something made for watching on mobile phones and fitting the scrolling mentality. He added that he believes the format is a natural way for companies to incubate shows for TV. "It's just a matter of time before you see a drama from one of these players and a fast follow into other formats," Shapiro said. "The big question is, how do we monetize that. But if it takes off, it converts to a premium, wide-screen format for TV."

What are rare earth minerals, and why are they central to Trump's trade war?
What are rare earth minerals, and why are they central to Trump's trade war?

CNN

timean hour ago

  • CNN

What are rare earth minerals, and why are they central to Trump's trade war?

The US trade war with China has a major sticking point: rare earths minerals. Last month, President Donald Trump said the United States needed Greenland 'very badly,' renewing his threat to annex the Danish territory. Greenland is a resource-rich island with a plentiful supply of critical minerals, a category that also includes rare earths elements, under its ice sheet. Trump also signed a 'rare earth deal' with Ukraine. The tussle over rare earths precedes the current administration. China for years has built up near-total control of the materials as part of its wider industrial policy. Here's what you need to know about rare earths. Rare earths are 17 metallic elements in the periodic table made up of scandium, yttrium and the lanthanides. The name 'rare earths' is a bit of a misnomer, as the materials are found throughout the Earth's crust. They are more abundant than gold, but they are difficult and costly to extract and process, and also environmentally damaging. Rare earths are ubiquitous in the technologies we rely on every day, from smartphones to wind turbines to LED lights and flat-screen TVs. They're also crucial for batteries in electric vehicles as well as MRI scanners and cancer treatments. Rare earths are also essential for the US military. They're used in F-35 fighter jets, submarines, lasers, satellites, Tomahawk missiles and more, according to a 2025 research note from CSIS. The International Energy Agency said 61% of mined rare earth production comes from China, and the country controls 92% of the global output in the processing stage. There's two types of rare earths, categorized by their atomic weights: heavy and light. Heavy rare earths are more scarce, and the United States doesn't have the capabilities for the tough task of separating rare earths after extraction. 'Until the start of the year, whatever heavy rare earths we did mine in California, we still sent to China for separation,' Gracelin Baskaran, director of the Critical Minerals Security Program at the Center for Strategic and International Studies, told CNN. However, the Trump administration's announcement of sky-high tariffs on China in April derailed this process. 'China has shown a willingness to weaponize' America's reliance on China for rare earths separation, she said. The US has one operational rare earth mine in California, according to Baskaran. On Friday, Trump said on Truth Social that China violated a trade truce put in place last month. Beijing has kept its export controls on seven rare earth minerals and associated products, which were seen as a response to Trump's 'reciprocal tariffs' on Chinese goods announced in April. After agreeing on the truce in Geneva, US officials had expected China to ease export restrictions on those minerals. The export controls could have a major impact, since the US is heavily reliant on China for rare earths. Between 2020 and 2023, 70% of US imports of rare earth compounds and metals came from the country, according to a US Geological Survey report. Beyond China, rare earths are also featured in US foreign policy objectives with Ukraine, Greenland and Saudi Arabia. 'Ukraine is a very, very nascent mining industry, and even though it was a part of the conversation, we don't actually have a mapping of what's economically viable,' Baskaran said. CNN's Nectar Gan and John Liu contributed to this report.

DOWNLOAD THE APP

Get Started Now: Download the App

Ready to dive into the world of global news and events? Download our app today from your preferred app store and start exploring.
app-storeplay-store