Microsoft's Next-Gen Xbox : A Console That's Actually a Gaming PC!
What if your next gaming console wasn't just a console, but a full-fledged gaming PC in disguise? Microsoft's upcoming Xbox is poised to shatter the traditional boundaries of console gaming, offering a device that's as much about flexibility and power as it is about play. With a modified Windows operating system, AMD's innovative Ryzen Z2 Extreme AI chip, and cross-platform compatibility, this next-gen Xbox is more than a gaming system—it's a bold reimagining of what a console can be. Imagine downloading games from Steam, tweaking performance settings like a PC enthusiast, or seamlessly switching from your console to a handheld device—all without leaving the Xbox ecosystem. This isn't just evolution; it's a revolution in how we think about gaming hardware.
In this exploration, ETA Prime uncovers how Microsoft is blurring the line between consoles and PCs, creating a platform that caters to both casual players and hardcore enthusiasts. From its open ecosystem that supports multiple storefronts to its collaboration with ASUS on handheld gaming, the next-gen Xbox is redefining versatility in gaming. You'll discover how features like the Game Bar and AMD's advanced processor bring PC-like customization and performance to your living room. But is this hybrid approach the future of gaming, or does it risk alienating traditional console fans? Let's examine the innovations, the possibilities, and the potential trade-offs of a console that dares to think like a PC. Next-Gen Xbox Overview
The new Xbox is designed to cater to a broad spectrum of gamers, offering features that appeal to both casual players and dedicated enthusiasts. By combining the power of PC gaming with the accessibility of a console, Microsoft is creating a platform that adapts to the evolving needs of the gaming community. Microsoft and AMD: Powering the Future of Gaming
Central to the next-gen Xbox's capabilities is Microsoft's enduring partnership with AMD, a collaboration that has consistently pushed the boundaries of gaming technology. This relationship, which began with the Xbox One, has reached new heights with the integration of AMD's Ryzen Z2 Extreme AI chip.
The Ryzen Z2 chip is a technological marvel, engineered to deliver exceptional performance across a variety of gaming scenarios. It offers faster processing speeds, enhanced graphical fidelity, and improved power efficiency, making it ideal for both consoles and handheld devices. By incorporating this advanced processor, Microsoft is making sure that the next-gen Xbox can handle even the most demanding games with ease, providing a smooth and immersive gaming experience. A Console with a PC-Like Operating System
One of the standout features of the next-gen Xbox is its operating system, which represents a significant departure from the traditionally closed ecosystems of gaming consoles. Reports indicate that the console will run a modified version of Windows, allowing you to install games from multiple storefronts, including Steam, Epic Games, and GOG.
This open approach enables gamers with greater control over their game libraries and settings, mirroring the flexibility typically associated with gaming PCs. Features like the Game Bar, a staple of Windows gaming, will be integrated into the console, allowing you to monitor performance, capture gameplay, and customize settings with ease. This PC-like functionality ensures that the next-gen Xbox offers a user experience that is both familiar and innovative. The Next-Gen Xbox is Actually a Gaming PC!
Watch this video on YouTube.
Check out more relevant guides from our extensive collection on gaming PC systems that you might find useful. Handheld Gaming: The ROG Xbox Ally
In addition to its flagship console, Microsoft is making strides in the handheld gaming market through its collaboration with ASUS. The ROG Xbox Ally and Ally X are designed to combine the portability of handheld consoles with the power and versatility of gaming PCs. These devices are powered by the AMD Ryzen Z2 Extreme AI chip, making sure high performance for even the most graphically intensive games.
The handhelds come equipped with features like the Game Bar and ASUS's Armory Crate, which enhance the gaming experience by allowing you to optimize performance, monitor system metrics, and customize settings directly from the device. This partnership with ASUS highlights Microsoft's commitment to expanding its gaming ecosystem, offering solutions that cater to gamers who value portability without compromising on performance. An Open Ecosystem for Cross-Platform Gaming
The next-gen Xbox is embracing an open gaming ecosystem, moving away from proprietary storefronts and restrictive platforms. This shift allows you to access games from a variety of sources, including Steam, Epic Games, and GOG, providing unparalleled flexibility in how you build and manage your game library.
This open approach aligns with the growing trend of cross-platform gaming, where players can enjoy their favorite titles across multiple devices without being confined to a single ecosystem. By supporting multi-storefront game installations, Microsoft is catering to a diverse range of gamer preferences, making sure that the next-gen Xbox is as inclusive as it is powerful. Performance and Accessibility: A Balanced Approach
Performance is a cornerstone of the next-gen Xbox, and the AMD Ryzen Z2 Extreme AI chip plays a pivotal role in delivering smooth and responsive gameplay. Whether you're exploring expansive open worlds or engaging in fast-paced multiplayer battles, the console is designed to handle it all with ease.
Beyond raw performance, Microsoft is also prioritizing accessibility. Features like the Game Bar and ASUS's Armory Crate simplify the gaming experience, allowing you to focus on playing rather than navigating complex menus or settings. This balance between high performance and user-friendly design ensures that the next-gen Xbox appeals to both casual gamers and hardcore enthusiasts. Windows and Steam OS: Flexibility for All Gamers
While the modified Windows OS is central to the next-gen Xbox, Microsoft is also exploring compatibility with alternative operating systems like Steam OS. This flexibility underscores the company's commitment to creating a gaming platform that accommodates a wide range of user preferences.
Whether you prefer the familiarity of Windows or the streamlined interface of Steam OS, the next-gen Xbox is designed to adapt to your needs. This dual compatibility ensures that the console remains accessible to a diverse audience, further solidifying its position as a versatile and forward-thinking gaming platform.
Media Credit: ETA PRIME Filed Under: Gaming News, Top News, Xbox
Latest Geeky Gadgets Deals
Disclosure: Some of our articles include affiliate links. If you buy something through one of these links, Geeky Gadgets may earn an affiliate commission. Learn about our Disclosure Policy.
Try Our AI Features
Explore what Daily8 AI can do for you:
Comments
No comments yet...
Related Articles
Daily Mail
17 minutes ago
- Daily Mail
Nicole Scherzinger flaunts her jaw-dropping figure in a tiny white bikini ever as she frolics on the beach
All eyes were on Nicole Scherzinger as she flaunted her jaw-dropping figure in a tiny white bikini in new snaps over the weekend. The former Pussycat Dolls star, 46, slipped her toned physique into a white two-piece as she soaked up the sun - reminiscing on a recent holiday. Nicole let her waist-length hair down for an Instagram video which she shared with her followers. The singer and actress, who recently has taken on Broadway success, revealed she was working two shows on Saturday, but was mentally elsewhere. She wrote: '89° in NYC. Two shows today. A rehearsal in between. Mentally: still here.' From A-list scandals and red carpet mishaps to exclusive pictures and viral moments, subscribe to the DailyMail's new Showbiz newsletter to stay in the loop. It comes after Nicole has reportedly 'shelved her upcoming solo album' following her success on stage. She was said to be working on an album in 2022 but made her debut as Norma Desmond in Sunset Boulevard in London the following year. The show then transferred to Broadway, where it has earned her both a Tony and a Laurence Olivier Award. Nicole is said to have 'spent a fortune' on her album after being dropped from her record label in 2015. A source told The Sun: 'Things were really coming together and she was hunting for a team to release it when Sunset Boulevard came along.' They added: 'The plan was to revisit the album after the West End run finished last year, but the show ended up going to Broadway and now she has loads of exciting offers on the table. 'She is in a totally different place in her life from when she wrote the album, so it's been shelved.' Composer Andrew Lloyd Webber has described Nicole as 'one of the most gifted singer-actresses I have seen perform my work… she is fearless, musically and dramatically.' After the Tony Awards last week, Nicole posted a video on Instagram during the ceremony where she performed a Sunset Boulevard number. In the gushing post, she wrote: 'This is a dream come true for me to perform As If We Never Said Goodbye. 'This is my love letter to the theatre. And to anyone with a deep passion for what you do, this was for you too.' She added: 'What an honour to share this song with a community that has held me and lifted me. I am forever grateful. As she accepted her Tony Award for Best Leading Actress in a Musical award, for her performance of fading Hollywood star Norma Desmond in Sunset Boulevard, Nicole said: 'Growing up I always felt like I didn't belong, but you all have made me feel like I belong, and I have come home at last.' She then thanked her fiancé Thom Evans, adding he 'believes in me when I forget to believe in myself.'
Daily Mail
18 minutes ago
- Daily Mail
JoJo Siwa is hit by cruel backlash following decision to pull out of Chicago Pride festival a day after admitting she felt 'pressured' to call herself a lesbian
JoJo Siwa has been hit by cruel backlash after it was revealed she'd pulled out of an appearance at a Chicago Pride event. The singer, 22, had been due to take to the stage at the Chicago Back Lot bash on Sunday, but in a post on Instagram, organisers revealed she will no longer be performing due to a 'scheduling conflict.' JoJo has sparked a social media frenzy since she confirmed she is dating Love Island star Chris Hughes, after they met on Celebrity Big Brother in April. The star, who identifies as queer, also shared on Friday that she felt 'pressured' to call herself a lesbian. Following the news of JoJo's withdrawal from the Pride show, some fans were quick to share their reaction to the news on social media, with others rushing to defend the star, as the move came just a week after she postponed her US tour. Comments included: 'America just dropped bombs on Iran, why would we care about JoJo Siwa winning s**t 'She won't be missed; And this is relevant because!?' 'I'm so over this girl, her 15 minutes of fame are up goodbye!' However, others rushed to JoJo's defence, writing: 'Aww, hope she's doing okay! Love is wild 'People are being extremely unfair to JoJo. I'm not a fan but she's young. She's figuring things out, in the public eye which has to be a nightmare in itself. 'She can be pansexual if that's what she feels. She is allowed to explore until she find what's right for her.' On Saturday, Back Lot Bash Chicago shared the news that JoJo would not be performing at the event as planned, with a post on Instagram Stories. 'Due to a scheduling conflict, JoJo Siwa will no longer be performing at Chicago's Back Lot Bash,' it read. The news came just a day after JoJo one day revealed to YOU Magazine that she felt pressured into calling herself a lesbian. However, others were quick to defend the star, as the news came just a week after she postponed her US tour On Saturday, Back Lot Bash Chicago shared the news that JoJo would not be performing at the event as planned, with a post on Instagram Stories 'When I came out at 17, I said: 'I'm pansexual, because I don't care [about gender].' But then I kind of boxed myself in and I said: 'I'm a lesbian.' And I think I did that because of pressure.' The Dance Moms alum has had several relationships with women since coming out in February 2021. 'In a weird way, I think [the pressure] came a little bit from inside the [LGBTQ] community at times. From people I know, from partners I've had,' she contended. 'You just get put in this world where you feel like, because you now have said, 'Oh, I'm a lesbian', you have to be a lesbian. And the truth is, sexuality is fluid.' Siwa met her current love interest, Chris Hughes, 32, while they were both competing on Celebrity Big Brother UK. The TV presenter defended Siwa after fellow contestant Mickey Rourke, 72, made homophobic comments. The two became friends, and then 'platonic soulmates' and then it developed into something more with the couple going public with their romance earlier this month. 'I'll just say that it took time. It took time away and then it took time together,' and went onto call Chris 'the favourite part of her life.' The Karma artist was set to return to the US next week for the American leg of her tour, but an announcement made on the website said the dates have been postponed, with those who bought tickets would receive a refund. She also teased that there would be more shows in Europe announced soon in a hint that she could be staying in the UK for longer. It comes just days after it was revealed JoJo has been dropped by record label Columbia just one year after being signed. JoJo had been signed to the record company Columbia in 2024, and she released her single Karma and EP Guilty Pleasure with the label. But less than a year later, the US reality star is no longer working with Columbia Records and released her latest song Bulletproof independently. Elsewhere, The Sun reported on Friday that JoJo and Love Island star Chris have been in talks with ITV bosses about their own reality TV show, with it being lined up to air on ITV2 later in the year. Elsewhere, The Sun reported on Friday that JoJo and Love Island star Chris have been in talks with ITV bosses about their own reality TV show, with it being lined up to air on ITV2 later in the year. A source told the publication: 'It's still in the early stages but ITV really think they'd be amazing TV with their own show. 'Fans around the world are obsessed with their relationship and there are so many TikTok accounts devoted to their love story.' They added: 'Chris and JoJo are keen too, and while there is no deal signed yet, the talks have been really promising.' Before confirming their romance, JoJo and Chris played coy over their relationship status – despite numerous cosy public outings After forming a close bond in the Celebrity Big Brother house, JoJo finally confirmed earlier this month that she and Chris are officially an item and that she's started calling him her boyfriend. In an interview with Capital Radio, JoJo said: 'I'm sure it's no secret to people, I am in a lovely relationship with a sweet boy named Christopher Hughes.' She also gushed about her blossoming romance with Chris in an interview with The Guardian when asked whether things between them were still platonic. 'It's not platonic anymore, and it's been a beautiful development, a beautiful connection, and I'm absolutely head over heels for him and he's the same way,' she told them.
BBC News
29 minutes ago
- BBC News
How the Grateful Dead built the internet
Before the the internet took over the world, psychedelic rock band The Grateful Dead were among the first – and most influential – forces at the dawn of online communication. The Grateful Dead weren't just a band. They were a lifestyle. Originally a local blues outfit known as the Warlocks, they soon ascended to the rank of house band for, and by the late 1960s became a force to be reckoned with on the national touring scene. The Dead, as many call them, helped define San Francisco's characteristic counterculture, fusing folk and Americana influences with Eastern spirituality – as well as forward-thinking experiments with futuristic tools. But the Dead shaped far more than rock, psychedelia and '60s drug culture. Thanks to a group of music-loving tech enthusiasts, the Dead popularised what some call first real online community. Generations later, the ideas formed in this pioneering digital space still reverberate through our daily lives. Fans of the Dead, known as "Deadheads", were inspired by the band's embrace of all things technological, from their pioneering sound systems to their immersive multimedia visuals. Many fans were technologists and engineers themselves, working in Silicon Valley or at universities around America with access to early internet technology – which they were using by the late 1970s to swap hot commodities like Grateful Dead setlists and illegal drugs. In the 1980s, years before the World Wide Web, a virtual online community emerged called the Well (the Whole Earth 'Lectronic Link). Centred on the San Francisco Bay Area of California, the Well not only thrived in its own right, but proved to be one of the most influential factors in the birth of the internet as we know it today. And its long life was in large part thanks to fans of the Grateful Dead. The Well was borne out of a project started by writer, activists and businessman Steward Brand, who began producing a print publication he called the Whole Earth Catalog in the 1970s. Inspired by the back-to-the-land movement which was seeing thousands of hippies across America start up communes, the Catalog was designed to provide "access to tools" – its slogan – that anyone could use to build their lives around the ecological and spiritual principles of the movement. That meant that alongside the physical tools it offered for sustainable living – like solar stills, looms, and seed kits – it featured an array of books and pamphlets by thinkers – like Buckminster Fuller and Marshall McLuhan – meant to provide insight into how to lead better, more thoughtful lives. The Catalog was enormously influential, and not just on hippies. Apple cofounder Steve Jobs called it "one of the bibles of my generation" in a famous 2005 speech. "We are as gods and might as well get used to it," the Catalog argued in the introduction to the spring 1969 edition, proposing the Catalog and its offerings as a means to develop an "intimate, personal power" to counteract the top-down, dominant "remotely done power and glory" of impersonal government and big business. The Catalog proved very popular, selling a million copies by 1972. Larry Brilliant, a doctor and activist who also happened to be the owner of computer company Networking Technologies International, approached Brand with the idea of putting the Catalog online. It was a radical idea at a moment when most people had never even heard of the internet. But Brand saw the potential in giving readers of the Catalog a place to talk to each other. Brilliant provided the money and equipment while Brand helped onboard users and build the community's culture, and in 1985, the Well went online. The Well was a "bulletin board system" (BBS), an early text-based approach to online communication that long predated the mainstream internet. People could dial into a BBS using a computer and a phone line, where they would send messages and share files. But the Well was more advanced than other BBS's. In the 1980s, these systems typically ran off a single modem, usually in someone's home, and only one person could dial in at a time. Real-time conversation between multiple users was impossible. The Well, operating out of the Whole Earth Catalog's San Francisco office, was among the first to change that. It was professionally run on command-line PicoSpan software, and sported the hardware necessary for multi-user use and conversation – fifty people could be online chatting at the same time. This was a revolutionary experience. And the Well was very different than purely commercial conferencing services like CompuServe that were around at the time: it was founded with a countercultural ethos at heart, based in the Whole Earth Catalog's do-it-yourself message, and was meant to encourage people from different walks of life to mix and mingle with each other, provoking interesting conversations and social change. Howard Rheingold was a freelance writer working from home, looking for ways to socialise – and procrastinate. Having been a devoted reader of the Whole Earth Catalog since its first issue, he was early to the Well, signing up soon after it was launched to the public in 1985. "Writing is a lonely affair," he says. "You're alone there with your typewriter, and your words. Instead of hanging out at a bar or a coffee house, I found that I could log into the Well and have that kind of conversation in between writing things." Rheingold saw the Well as a demonstration of the promise of electronic connectivity. He coined the term "virtual community" to describe the Well in his 1992 book of the same name, Virtual Community: Homesteading on the Electronic Frontier. In the book, he observed that "[most] people who have not yet used [networked communication] remain unaware of how profoundly the social, political and scientific experiments under way today via computer networks could change all our lives in the near future". At its launch, the Well was populated by a diverse group of conversationalists. The canny owners gave free invitations to journalists, computer enthusiasts and other prominent figures in a culture centred on Silicon Valley-style experimentation and forward thinking. The Well emphasised independence and ownership: the login screen told users "You own your own words". Many see it as the first time user-generated content was recognised as the inherent value proposition of an electronic tool. "It was a bit of an eclectic mix with a heavy countercultural flavour," says Rheingold. One of the recipients of these free invitations was David Gans, a Bay Area musician, DJ and Deadhead who was interested in the idea of finding an online home for the thriving Grateful Dead community. The Well was a perfect fit. Alongside cofounders Bennett Falk and Mary Eisenhart, he spun up the Grateful Dead forum. Eisenhart, at the time the editor of a Bay Area computer magazine MicroTimes, remembers how Grateful Dead fanzines made her think about connecting members of the fandom. "[The fanzines] would get these heartrending letters from people who thought they were the only Deadheads in their state, but now at least they could connect with other Heads," she says. "I was very drawn to the ability to overcome the barriers of time and space to connect with those you had some actual affinity with." Before long, the Well's Grateful Dead space exploded in popularity. At $2 an hour to dial in (about $6 or £4.50 today) along with its $8 membership fee ($23 or £17.20 today), the Deadheads devotion to endless discussion of their favourite band helped fund the entire platform. What was there to talk about? Well, a lot, according to Gans. Not all Grateful Dead fans went "over the wall" to the rest of the Well. Plenty stayed within their bubble, chatting away. The single forum for Deadheads got so unwieldy it had to be split into multiple forums, with separate ones popping up for tours, tickets and tape recordings of live shows, says Gans. There was also the deadlit conference – "conference" being the Well's terminology for an individual, topic-based forum within the larger platform – where users could talk about the Dead's connections to literature, and dissect the poetry of the bands lyricists Robert Hunter and John Perry Barlow. More like this:• The failure that started the internet• The people stuck using ancient Windows computers• The hidden world beneath the shadows of YouTube's algorithm Barlow himself was a major figure at the intersection of the Grateful Dead and the history of the internet. Raised on a ranch in Wyoming, and introduced to LSD by Timothy Leary himself during college, he ended up falling in with the Dead in the 1970s. He wrote songs for the band before heading back to take over his family ranch, where his distance from the Bay Area contributed to his interest in the burgeoning field of personal computing and online connection. Gans remembers interviewing him in 1982, a few years before the Well came into being. "He said [of the Deadheads], 'this is a community without a physical location.' And that really stuck with me." Grateful Dead fans already a nationally distributed group which came together regularly at concerts, and through the Dead's sizeable mailing list. In fact, the Well wasn't even Deadhead's first foray into digital communication. According to Gans, one of the first non-technical groups that formed on Arpanet, a precursor to the internet run by universities and the US government, was devoted to discussion of the Grateful Dead. A full embrace of cyberspace was a natural next step. Barlow wasn't immediately on board, however. Gans recalls his skepticism: "[He said] 'Well, I'm not sure I want to be part of anything where you have to make up a nickname for yourself.'" But it wasn't long before Barlow embraced the Well, and soon, he came a pioneering force in as the internet launched into the mainstream. He was the first person to apply Neuromancerauthor William Gibson's term "cyberspace" to the emerging network of computer and telecommunications systems linking people together around the globe. Barlow started referring to cyberspace as an "electronic frontier," drawing on his experiences growing up in Wyoming, in the Mountain West of America. The Well and other similar outposts, like Prodigy and The Source, were akin to the Wild West, writes Barlow, "vast, unmapped, culturally and legally ambiguous [...] hard to get around in, and up for grabs". Barlow found a home within the Well's community of hackers, free speech enthusiasts and home computing pioneers. He quickly understood the Well's potential as a harbinger for the ways the internet would change the face of human communication forever. On the Well, Barlow engaged in long discussions, often debating with anonymous hackers and "phreaks" – or telephone hackers – about the role that networked communication was to play in the future of humanity. After some run-ins with clueless law enforcement officers, Barlow recognised a growing need to defend the internet users against the overreach of institutions and governments who would want to control it. In 1990, he founded the Electronic Frontier Foundation (EFF) – an advocacy group that fights for free-speech and other civil rights in the digital world. "The next thing I know, he's founding the EFF and he's the Lord Mayor of cyberspace!", Gans says. The EFF quickly gained a national profile, and 35 years later, it's still one of the most influential forces in the world of technology policy. For cyberspace denizens who wanted to engage in discussion and collaborate with the people who were shaping the future of virtual communities, the Well was the place to be. Alongside the Well's many Deadheads, members included technology journalists like John Markoff and Steve Levy; entrepreneurs Craig Newmark, founder of Craigslist; Steve Case, founder of AOL; homebrew computer enthusiasts like Apple cofounder Steve Wozniak; phone phreakers and hackers; libertarians; hippies; and even the founders of Wired magazine. "Over the years, we've had people that were retired captains of submarines, we've had journalism professors. Jane Hirschfield, a very famous poet, is a regular, and John Carroll, who was a columnist for the San Francisco Chronicle, was the host of the media conference for many years," Gans recalls of the diversity of the Well's user base. Many of these groups got into frequent disagreements. But that was part of the convivial spirit of the Well, says Rheingold. "You don't have a lot of great conversations with people who agree with each other about everything all the time," he points out. "Having some friction can help foster a lot of lively conversation." At first, geography limited the Well's early users to the area surround its servers in San Francisco. Long-distance users had to pay requisite phone fees to dial in up, until 1990 when the Well was connected with the global internet. Though there were never more than 5,000 or so users of the Well at its peak, its coverage and innovators of the day and its starring role in the creation of the EFF gave it an outsized reputation compared to more popular mainstream platforms like CompuServe and Prodigy. "Being on The Well kept me six months ahead of other people about what was actually happening on the internet," said tech executive Jim Rutt in a 2022 interview. It was a vital incubator for ideas and movements in computing, communications and social change. But as it grew, Well faced some difficulties in governance, as Rheingold recalled, thanks to its libertarian free-speech ethos. "There was no police. It was consensus, which meant that in order to be sanctioned or to even be thrown out for bad behaviour, it required people on the Well to argue about it endlessly. I mean, thousands of posts." Lessons about moderation were learned, such as – for Rheingold – the vital importance of moderators being more like hosts at a party, becoming intensely proactive about what content to allow and promote. "Moderators are filters and sensors," he said, whereas hosts "greet people at the door, introduce them to each other, break up the fights." As for the Well, it subsequently came under the ownership of a variety of different companies, including Salon magazine, which acquired it in 1999. And it's still around today, home to a slowly dwindling but loyal group of users, many of whom have been on the Well for almost 40 years, says Gans. He reveals that discussions are beginning on how best to archive and sunset the platform at some point in the future, preserving it for future generations to look back on. Looking back at the history of virtual communities and social media since the Well's heyday, Rheingold reflects on the fact that small, dedicated affinity communities are a dying breed. "Facebook really put a damper on the proliferation of smaller communities of people with a shared interest," he says, in favour of larger platforms full of audiences which could be mined for data and served with advertisements. "Once your community members are the product rather than the customer, you don't have a community," says Eisenhart. The Well represents a moment in history when, as founder Steward Brand put it in Rheingold's book, "personal computer revolutionaries were the counterculture". Long before the mainstreaming of social media and smartphones, a virtual community was a truly groundbreaking concept. -- For more technology news and insights, sign up to our Tech Decoded newsletter, while The Essential List delivers a handpicked selection of features and insights to your inbox twice a week. For more science, technology, environment and health stories from the BBC, follow us on Facebook, X and Instagram.
