Canadian carriers like to make big claims about how good their service is, especially when it comes to 5G. But I think it’s time they put their money where their mouth is and give Canadians a way to try how good (or bad) these services are, and U.S. carriers have a great example of how to do this.
If you haven’t heard, Verizon launched a 30-day free trial program that lets people in the U.S. leverage eSIM tech to test out its ultra-wideband 5G, 5G and 4G LTE networks. Verizon launched the program in November 2022 to match similar programs from T-Mobile and AT&T (via flanker brand Cricket).
Android Centralpublished an interesting breakdown of how Verizon’s free trial works. It offers 100GB of data and unlimited talk and text, and you don’t even need to supply a credit card to sign up. People can sign up by downloading the Verizon app from the Play Store or App Store, selecting the option to start a free trial and following the steps to get set up with an eSIM. Verizon even supplies a temporary number to use so people can keep their current plan during the trial.
Obviously, there are some limitations to this. For one, it doesn’t do much for people who don’t have eSIM-compatible smartphones (though most smartphones sold in the last few years do support eSIM). Moreover, if Canadian carriers did adopt a free trial like this, it wouldn’t solve the rampant competition problems (which are only set to get worse thanks to a recent merger).
The main benefit of a free trial program like this is it would give Canadians a chance to test out if carrier promises live up to the hype.
5G is one of the main things that come to mind. Anecdotally, after using Bell and Telus 5G on my own devices, I’ve ended up back on a “worse” 4G LTE plan because it was still fast enough to handle my needs while also giving me more data and costing less per month. If there was a free trial offer, I might never have gone through the hassle of switching to a 5G plan just to find out it wasn’t worth it.
But beyond that, free trials could let people see if a carrier has adequate coverage where they live or work, and test if smaller players could meet their needs, potentially letting them save money by switching carriers. Plus, it’d benefit carriers too, since if their services were really the best available, they’d get more customers.
Ultimately, it’d be a huge win for consumers. Unfortunately, that’s also why we likely won’t see free carrier trials come to Canada any time soon.
Every week, MobileSyrup outlines some of the most notable movies and TV shows that recently hit Canadian streaming platforms.
Our ‘Streaming in Canada’ column typically focuses on new content from Amazon Prime Video, Crave and Netflix, but other services like Apple TV+ and Disney+ are mentioned when relevant. Premium video-on-demand (PVOD) platforms are also fair game as movies continue to come to digital early.
Finally, we’ll highlight shows or movies that are made by Canadian companies, involve notable Canadian cast or crew and/or are filmed in Canada.
Amazon Prime Video
The Power [Amazon Original]
Amazon Prime Video Canada premiere date: March 31st, 2023 (first three episodes, new episodes every Friday) Genre: Sci-fi drama Runtime: Nine episodes (around one hour each)
After teenage girls develop the power to electrocute people at will, the global power balance is completely reversed.
Based on Naomi Alderman’s novel of the same name, The Power was created by Alderman, Raelle Tucker (True Blood) and Sarah Quintrell (Doctors) and stars Toni Collette (Hereditary), Auli’i Cravalho (Moana) and John Leguizamo (When They See Us).
An Amazon Prime Video subscription is included at no additional cost with an Amazon Prime membership, which is priced at $99/year.
The full list of movies and shows that hit Amazon Prime Video Canada in March can be found here. A roundup of April’s new content is available here.
Apple TV+
The Big Door Prize [Apple Original]
Apple TV+ Canada premiere date: March 29th, 2023 (first three episodes, new episodes every Wednesday) Genre: Comedy Runtime: Ten episodes (29 to 35 minutes each)
A machine mysteriously appears in a grocery store in a small town, giving residents the ability to see their futures.
Based on M.O. Walsh’s novel of the same name, The Big Door Prize was created by Markham, Ontario’s David West Read (Schitt’s Creek) and stars Chris O’Dowd (Girls), Gabrielle Dennis (Marvel’s Luke Cage), Damon Gupton (Whiplash) and Josh Segarra (Orange is the New Black).
Apple TV+ Canada premiere date: March 31st, 2023 Genre: Biographical thriller Runtime: Nine episodes (around one hour each)
Based on true events, this movie follows game developer and entrepreneur Henk Rogers as he travels to the Soviet Union to work with Tetris creator Alexey Pajitnov to bring the beloved game to the rest of the world.
Tetris was directed by Jon S. Baird (Filth) and stars Taron Egerton (Rocketman), Toby Jones (The Girl), Nikita Yefremov (London Grad) and Roger Allam (V For Vendetta). It’s also worth noting that Halifax’s Noah Pink (Genius) wrote the screenplay.
This series was the ultimate goal when I began #EvolvingVegan 5 years ago. #Vegan is no longer a passing fad, & we’re on a journey to prove it! PREMIERING MARCH 30th, 2023 at 8PM EST!! https://t.co/GivXoGC949
Crave premiere date: March 30th, 2023 (first episode, new episodes every Thursday) Genre: Documentary Runtime: Six episodes (around 42 minutes each)
Toronto’s Mena Massoud (Aladdin) hosts this travel series spotlighting different restaurants in North America that offer plant-based meals.
EvolvingVegan is based on his online project of the same name and features appearances from Toronto’s Lilly Singh (A Little Late with Lilly Singh) and Regina’s Tesher (“Jalebi Baby”).
Original theatrical release date: June 10th, 2022
Crave premiere date: April 1st, 2023 Genre: Sci-fi action Runtime: 2 hours, 26 minutes
With the human world overrun by dinosaurs, Owen and Claire must embark on a rescue mission while Alan, Ellie and Ian work to expose a Biosyn conspiracy.
Jurassic World Dominion was directed by Colin Trevorrow (Jurassic World) and stars Chris Pratt (Guardians of the Galaxy) and Bryce Dallas Howard (The Help), while Jeff Goldblum, Sam Neill and Laura Dern reprise their original Jurassic Park roles of Ian, Alan and Ellie, respectively.
A standard Crave subscription is priced at $19.99/month, with Starz costing an additional $5.99/month. A mobile-only subscription is also available for $9.99/month.
The full list of movies and shows that hit Crave in March can be found here. A roundup of April’s new content is available here.
Disney+ Canada premiere date: March 31st, 2023 Genre: Family, medical, comedy-drama Runtime: 10 episodes (34 to 39 minutes each)
In between mounting pressures as a teenage doctor, Lahela finds herself caught in a love triangle.
Based on the Neil Patrick Harris-led ’90s series Doogie Howser, M.D., Doogie Kamealoha, M.D. was created by Kourtney Kang (Fresh Off the Boat) and stars Peyton Elizabeth Lee (Andi Mack), Emma Meisel (The Kids Are Alright), Matthew Sato (Hawaii Five-O), Kathleen Rose Perkins (Episodes) and Jason Scott Lee (Dragon: The Bruce Lee Story).
With their own detective agency, Nick and Audrey must track down their billionaire pal after he’s kidnapped from his wedding.
Murder Mystery 2 was directed by Jeremy Garelick (The Wedding Ringer) and stars Adam Sandler (Happy Gilmore), Jennifer Aniston (Friends), Mark Strong (Kingsman series) and Mélanie Laurent (Inglorious Basterds).
The full list of movies and shows that hit Netflix Canada in March can be found here. A roundup of April’s new content is available here.
What are you planning on watching this week? Let us know in the comments.
For more suggestions, check out last week’s Streaming in Canada column. As well, those who have cancelled Netflix due to the company’s recent password-sharing crackdown can check out this resource for a breakdown of other streaming platforms to check out.
The topic has been picked up in Toronto’s mayoral race, with candidate Ana Bailão promising to bring cell services to underground TTC riders if elected.
Minister François-Philippe Champagne has approved Rogers’ $26-billion merger with Shaw by giving Vidéotron’s plans to acquire Freedom Mobile a green light. The decision has been met with outcry from various organizations.
Lucky Mobile is offering customers one month of free service if they buy online or at select retail stores. The offer expires on April 3rd. Details are available here.
Chatr is also offering customers one month of free service, along with 4GBs of bonus data, for a limited time.
Over the years, I’ve been telling myself that I’m going to replay Resident Evil 4. I first beat it around 10 years ago and was blown away by how tightly crafted and thrilling it was, but for whatever reason, I haven’t properly gone back beyond a bit of experimentation with PlayStation’s DualSense Edge controller.
Upon reflection, I think I now know why that is. Resident Evil 4 is an undeniably great game, but there’s just one problem: it’s kinda clunky. Without question, the seminal 2005 game deserves all of its flowers for how it helped pioneer the third-person shooter genre, but it can be difficult to revisit due to its control scheme. People who regularly replay the older Resident Evil games have no doubt gotten accustomed to those tank-style controls, but others, who understandably come from a modern landscape, might find the lack of mobility rather frustrating, especially when aiming. That’s certainly been the case for me.
It’s also a key reason why I’ve been on board from the start with Capcom’s 2023 remake of the game, simply titled Resident Evil 4. Using the framework of its incredible Resident Evil 2 remake, Capcom revisiting RE4 presented an opportunity to modernize the game’s more dated elements while enhancing everything that still works extremely well, from the delightfully campy tone and masterful pacing to memorably grotesque enemy design and eerie setting. It’s a monumental achievement, then, that Capcom has managed to do all of that and more with Resident Evil 4 (2023), delivering an absolute masterpiece that sets the gold standard for remakes in gaming.
That B-movie charm, and more
The core premise of the remake remains the same. After the U.S. president’s daughter is kidnapped, special agent Leon S. Kennedy is tasked with travelling to a remote European village to rescue her from a religious cult. But everything surrounding this solid action B-movie setup has been improved. Smartly, Capcom now emphasizes how Leon’s been psychologically affected since we last saw him during the harrowing events of RE2, creating a stronger throughline between the two games. This helps ground a character who, in the original game, would perform The Matrix-level superhuman feats with an almost psychopathic level of detachment. At the same time, Capcom retains some of his humour — which, in the context of his trauma, now feels more like an appropriate coping mechanism — and charming one-liners. Further strengthening the ties to RE2 is returning Leon actor Nick Apostolides, who does a brilliant job of conveying both the edgier and more lighthearted sides of the character.
The remake’s stronger writing extends to other characters, too. In the original game, the president’s daughter, Ashley, was little more than an annoying damsel in distress for Leon to save. Here, she’s far less whiny and even now has an endearing rapport with Leon, with the two bonding over the horrible experiences in which they find themselves. It also helps that Canadian actress Genevieve Buechner delivers a more understated performance, graciously making Ashley feel more like a character than a plot device. But the character who gets expanded upon the most is Luis. The ex-cop Spaniard had a relatively minor role in the original game, in which he made decidedly distasteful comments about Ashley, but here, he has a meatier role while also dropping the casual sexism. Across multiple sections of the campaign, the remake gives Leon more of an opportunity to get to know Luis, giving them a much more compelling camaraderie than ever before.
Cool moves, Mr. Kennedy
But story and characters aren’t the main reason one plays Resident Evil — that would be the survival horror gameplay. Thankfully, that’s where the remakeshines even more. That all starts with Capcom’s stunning RE Engine, which powered RE2 and Village and produces more jaw-droppingly gorgeous, photorealistic visuals for RE4. Everything from blood-soaked animal carcasses and dilapidated European architecture to pus-filled, fleshy mutants and Leon’s glistening rain-soaked tactical shirt looks absolutely incredible with the contemporary visuals. Admittedly, the original RE4 marked a shift from the series’ signature scares to a more action-heavy experience, but the improved presentation — replete with expertly honed lighting and audio design (enhanced on PS5 through the disembodied, unnerving voices that emanate through the DualSense speaker) — actually helps maintain some of the horror elements.
But let’s be real — RE4 is, first and foremost, an action game, and the remake hones in on that in all of the best ways. Honestly, it can’t be understated just how much more engaging and thrilling combat can be when you’re afforded complete 360-degree movement. Instead of occasionally fighting with the controls, you’re able to focus entirely on the obstacles in front of you, which allows Capcom to shift focus on getting creative with enemy configurations and the actual layout of areas. Sure, the original game had a level of verticality to it, but the remake’s extra freedom of movement and real-time transitions between vaulting around, climbing up ladders and jumping through windows make everything feel infinitely more seamless. Ashley, too, is less of a nuisance in combat, thanks to better AI and the ability to command her to stick close to Leon (useful when fleeing) or hang back (handy when fighting).
All the while, Leon’s returning ability to shoot enemies in the head or knee and make them vulnerable to a satisfying kick or suplex is much more intuitive and smooth when you have full camera and character control. Throw in the ability to set weapons and grenades/flashbangs to D-pad shortcuts instead of having to constantly open your inventory to equip gear and RE4 (2023) feels like the perfect realization of its predecessor’s gameplay potential.
But the single biggest and best change in this regard comes through Leon’s knife. In the original RE4, you would have to awkwardly hold up the blade while making slow slashes, a process that had to be repeated each time you wanted to open a crate and check for resources. This, coupled with the requirement to confirm item pick-ups instead of simply automatically doing so in the remake, made things feel a bit tedious in the original. (The surprisingly addicting Tetris-style case management system does return, though, with a welcome auto-sort option, to boot.) If instant item pick-ups in the remake weren’t enough, Leon’s knife now has greater versatility in exchange for a durability metre, and it’s truly a game-changer.
In the remake, Leon can parry most incoming attacks — including melee attacks, crossbow bolts, tendrils and even chainsaws — with a well-timed button press. The window for this is pretty generous, admittedly, but it still feels ridiculously cool to fend off incoming fire with just a knife. Instead, the challenge comes from the on-the-fly decision-making regarding when to actually employ the knife. Since it can also be used for quick, last-minute escapes when you’re grabbed by an enemy or even new insta-kill stealth moves, there’s a meaningful risk-reward element to your blade.
At the same time, you can find new knives to replace your broken ones and repair your main blade at the Merchant (yes, the lovably goofy and mysterious salesman returns) for a fairly large fee, so there’s a perfectly balanced and rewarding gameplay loop surrounding the knife alone. That’s to say nothing of the glorious assortment of pistols, rifles, shotguns and other weapons that Leon accrues, all of which are upgradable at the Merchant. All told, Resident Evil 4 (2023)’s extensive mechanical refinements result in some of the most pulse-pounding and gratifying third-person combat I’ve ever experienced in a game.
Change for the better
In many ways, Resident Evil 4‘s nondescript European setting was a character unto itself, and the remake only dramatically expands upon that. Each of the game’s three main hubs — the village, castle and island — are all bigger and denser this time around, with more secrets and puzzles to tackle in each. In some areas, Leon can even return with Ashley to give her a boost and open up previously unreachable paths. While I wish they did a little more with the team-up dynamic (there aren’t really that many of these instances, and the segmented nature of RE4‘s settings means that you eventually leave areas without the ability to return), it’s still a novel way to reward exploration and add replay value. A new sidequest system also encourages you to venture off the beaten path, be it to shoot ‘x’ number of hidden targets kill more powerful versions of enemies. I appreciate the added challenge these afforded on top of just netting you valuable money and resources to spend at the Merchant’s shop.
Throughout all of this, Capcom has also been clever enough to make changes to environments and structures where it makes sense. Gone are some of the comically over-the-top quick-time events (QTEs) — fine in 2005, but pretty dated 18 years later — and in their place are interactive sequences that retain the same campy spirit. Boss fights and setpieces that were limited to small areas now feel more lively thanks to larger combat arenas in which Leon can actually properly run around and shoot. After 2020’s Resident Evil 3, there were concerns from some long-term fans as to how much content might be cut or changed, but thankfully, this reimagining of RE4 retains nearly everything while making smart tweaks where they’re most needed.
To go into specifics would spoil some of the remake’s many amazing surprises, but the best broader example I can give is the aforementioned island. What was once a numbing slog of waves of overpowered enemies and visually dull rocky environments has been reworked into a more atmospheric, tightly crafted and aesthetically diverse endgame section. What originally worked here has been thoughtfully retained and built upon — namely, the frightening Regenerators — while everything else that was grating has seen a significant revamp. Best of all, Capcom wisely fleshes out Leon’s antagonistic relationship with soldier Jack Krauser throughout the earlier sections, so the island gauntlet now serves as a dramatic and exciting build-up to an outstanding, tense, almost cat-and-mouse encounter between the two former brothers-in-arms.
The best REmake to date
For years, many have argued that a Resident Evil 4 remake was unneeded, and that’s not without merit. The original game remains playable on pretty much every platform and holds up quite well in many ways. But Resident Evil 4 (2023) shows that such a line of thinking lacks imagination. Against all odds, Capcom has managed to take one of the most beloved games of all time and modernize in it so many brilliant ways, lovingly staying true to the original experience while bolding charting a new path for it. This is easily the greatest gaming remake to date and an early frontrunner for Game of the Year.
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In the past, Samsung has let non-Samsung users try out its user interface, and now it’s back at it.
Samsung’s new “Try Galaxy” demo tool lets users try out the Galaxy S23, Z Flip 4 and Galaxy Fold 4 software from their devices — including iPhones.
You’ll need to head to the ‘Try Galaxy’ website, and iPhone owners will get a prompt to install a web app by adding the site to their home screen. The app will let users get a taste of One UI 5.1, Samsung’s Android 13 skin.
Previously, Samsung launched ‘iTest,’ an interactive website letting iPhone users test the One UI experience. However, iTest has been replaced by ‘Try Galaxy.’
You can try out the Google core apps like Messages, and demo experience of Samsung Health, Smart Switch and more.
Amazon has filed three new lawsuits against groups that it says are/have been abusing its takedown system by filing thousands of illegitimate copyright complaints against other products. This comes just days after the company said that it will start adding a warning flag next to products that are often returned.
The e-commerce giant has dubbed the legal action a “new offensive against bad actors.” Amazon alleges that the bad actors did not just file fake complaints and sit back to see if they worked. The parties also reportedly created fake, disposable websites with product images scraped from the Amazon store to use as evidence that they were the legitimate copyright holders (via The Verge).
“We know how important it is to our selling partners to have a consistent Amazon store experience, and we will be unrelenting in our pursuit of bad actors that attempt to undermine that experience,” said Kebharu Smith, director of Amazon’s Counterfeit Crimes Unit. “These lawsuits should serve as a warning to anyone that uses fraud in an attempt to harm any of the millions of selling partners that work with Amazon every day.”
One defendant, Sidesk, is accused of using a fraudulent trademark application to get into the Amazon Brand Registry program. According to Amazon, the U.S. Patent and Trademark Office had cancelled the trademark application, but Sidesk used it anyway with product listings on Amazon.
Sidesk was by far the worst offender for filing takedown requests, with around 3,850, according to Amazon’s lawsuits. The others, Dhuog and Vivcic, reportedly filed 229 and 59 takedown requests, respectively, in the course of a few months. According to the lawsuits, the bad actors were sometimes successful in having product listings temporarily taken down in response to their bogus complaints.
Similar challenges exist on other platforms as well. For example, creators on YouTube have long expressed their dissatisfaction with the platform’s copyright claiming system, which permits scammers and companies to make bogus claims that may result in creators being extorted or losing their ad revenue.
Learn more about the three new lawsuits filed by Amazon here.
General Motors (GM) has provided an update on its in-vehicle infotainment strategy.
The Detroit-based automobile company plans to phase out Apple CarPlay and Android Auto in its future electric vehicles (EVs). The first GM vehicle to get rid of Apple and Google’s in-car infotainment tech will be the 2024 Chevrolet Blazer, as reported by Reuters.
It’s worth noting that while Android Auto will not be added to future GM vehicles, Google isn’t being shut out of GM’s cars. The company will build its own infotainment system in partnership with Google, allowing it to capture more data on how consumers drive and charge EVs. The decision is a setback for Apple in its competition with Google to capture more real estate on vehicle dashboards in North America.
The system will include Google Maps and Google Assistant, as well as other apps such as Spotify and Audible that can be downloaded from the Google Play Store. GM said that EV owners will get free access to these features for eight years. The new infotainment system will also be more tightly integrated with GM’s Super Cruise driver assistance system, which allows hands-free driving under certain conditions. GM said that it will introduce new driver assistance features that rely on its vehicle’s built-in navigation system, rather than on a smartphone connection.
GM also views the new infotainment system as a way to generate more revenue from subscription services, including music streaming, audiobooks and vehicle maintenance. GM’s chief executive Mary Barra has set a target of $20 billion USD (about $27 billion CAD) to $25 billion (roughly $33 billion CAD) in annual revenue from subscriptions by 2030.
GM said that it will continue to offer Apple CarPlay and Android Auto in its combustion vehicles. Further, owners of EVs equipped with Apple CarPlay and Android Auto will still be able to use the platforms
March is Women’s History Month, which focuses on women’s contributions to history. On this week’s SyrupArcade Cast, the team chats about women/femme characters in video games, the women behind games, and the recent Game Developers Conference (GDC).
The first season of HBO’s The Last of Us was filmed in Alberta, and now, it looks like the second might shoot in British Columbia, according to a recent report from Deadline.
The first season was shot in locations around Calgary, Edmonton, Canmore, Grand Prairie and more, but it’s unclear specifically where the second season will be filmed in Vancouver. That said, the area should serve as a stand-in for Seattle and other Pacific Northwest locations. HBO confirmed that The Last of Us is renewed for a second season at the end of January.
The first season stars Bella Ramsey as Ellie and Pedro Pascal as Joel. The Last of Us series is an adaptation of the well-known 2013 Naughty Dog video game with the same name.
The second season of HBO’s TV show will be based on The Last of Us Part IIgame, which follows Ellie’s journey five years after the first game’s events. While HBO has only officially greenlit a second season, the creators are planning multiple seasons to fully adapt the sequel.
The lawyer overseeing a class action lawsuit against Rogers for the July 2022 national outage says a request for authorization to launch the suit will likely be heard in June 2o23.
Lawyer Joey Zoukran of LPC Avocat Inc. emailed the Montreal Gazetteon March 31st to share the news. Zoukran explained that Rogers’ request to file preliminary evidence contesting the class action was granted. The hearing for authorization will likely take place at the Montreal courthouse on June 22nd.
Authorization (or certification as it’s called outside of Quebec) is part of the process that turns a lawsuit into a class action. This is also when the court determines if all the plaintiffs share a common claim and meet various criteria. CTV News has a great explainer on class actions you can view here.
The lawsuit against Rogers alleges the company’s compensation for the July 2022 outage wasn’t adequate. Instead, it seeks $400 for each customer of Rogers or its subsidiary brands like Fido and Chatr that lost service during the outage.
The outage started early the morning of July 8th and lasted two days or more in some regions. Rogers said a maintenance update in its core network caused the outage, which took down various services, including internet and calling, across Canada.