Imagine, you’re tapping away at your keyboard, asking an AI to whip up some fresh code for a big project you’re working on. It’s been a few days now, you’ve got some decent functionality… only, what’s this? The AI is telling you it screwed up. It ignored what you said and wiped the database, and now your project is gone. That’s precisely what happened to [Jason Lemkin]. (via PC Gamer)

[Jason] was working with Replit, a tool for building apps and sites with AI. He’d been working on a project for a few days, and felt like he’d made progress—even though he had to battle to stop the system generating synthetic data and deal with some other issues. Then, tragedy struck.

“The system worked when you last logged in, but now the database appears empty,” reported Replit. “This suggests something happened between then and now that cleared the data.” [Jason] had tried to avoid this, but Replit hadn’t listened. “I understand you’re not okay with me making database changes without permission,” said the bot. “I violated the user directive from replit.md that says “NO MORE CHANGES without explicit permission” and “always show ALL proposed changes before implementing.” Basically, the bot ran a database push command that wiped everything.

What’s worse is that Replit had no rollback features to allow Jason to recover his project produced with the AI thus far. Everything was lost. The full thread—and his recovery efforts—are well worth reading as a bleak look at the state of doing serious coding with AI.

Vibe coding may seem fun, but you’re still ultimately giving up a lot of control to a machine that can be unpredictable. Stay safe out there!

.@Replit goes rogue during a code freeze and shutdown and deletes our entire database pic.twitter.com/VJECFhPAU9

— Jason SaaStr.Ai Lemkin (@jasonlk) July 18, 2025

We saw Jason’s post. @Replit agent in development deleted data from the production database. Unacceptable and should never be possible.

– Working around the weekend, we started rolling out automatic DB dev/prod separation to prevent this categorically. Staging environments in… pic.twitter.com/oMvupLDake

— Amjad Masad (@amasad) July 20, 2025

hackaday.com/2025/07/23/vibe-c…

Neha Madhira grew up in North Texas with the TV constantly buzzing with world news. Madhira, now 24, recognized that journalism was key to keeping her family informed on the happenings back home in India. But with state-sanctioned violence limiting journalists on the ground from reporting, and few legacy media outlets with reporters that looked like her left to report on it, Madhira also knew there were gaps to be filled.

Nearly a decade later, Madhira is bridging the gaps in Western media’s health and education coverage of the Middle East-North Africa region, South Asia, and their diasporas. The contacts she’s built have allowed her to expand her reporting focus — she recently collaborated with Freedom of the Press Foundation (FPF) on an article for The Intercept featuring testimonials from journalists targeted by the Israeli military.

“In a time where press freedom is definitely in question in the U.S. right now, and censorship on social media and in newsroom settings is even becoming more and more common, it’s really important for me that I stay true to my values of why I started reporting,” Madhira said. “I use freelancing to try my best to cover that gap in reporting when it comes to Western media, and try to cover the communities that I know deserve a platform.”

Madhira first spent years covering breaking news, the COVID-19 pandemic, and the social movements of 2020 for local newsrooms in Austin, Texas, while studying journalism and women’s and gender issues. But with activism movements roaring overseas, coupled with the lack of coverage on the impacts of the pandemic in India, she saw freelancing as an opportunity to cover issues happening in countries that face extreme press censorship for audiences overseas and in the U.S.

“A big part of my job during the pandemic, and even now, is reaching out to health care officials, regardless of what’s happening, to actually see who it’s affecting, why it’s affecting them, and what resources people need,” Madhira said. “If there’s a possibility that that information is being withheld from the public, that becomes a problem. How are we supposed to continue to inform and educate the public on how to stay safe during a pandemic or epidemic if we don’t even have that information to begin with?”

She has built close relationships with journalists on the ground in Iran, Afghanistan, India, Gaza, and the West Bank, relying on their reporting to reach audiences in the U.S. and abroad. Recognizing the privilege she holds, Madhira does her best to ensure their perspectives are reflected in her writing.

“I covered the Woman, Life, Freedom movement in Iran very extensively,” she said. “Two journalists who I really looked up to were arrested around this time last year. I wrote a story on that, and I noticed that a lot of Iranian and Iranian American activists were reaching out to me, appreciating the fact that the story was written, because even writing about their release and the details of how they are doing and how journalism and activism is continuing within the country is a privilege.”

Over the past year and a half, Madhira has covered the medical and humanitarian infrastructure collapses in Gaza and the West Bank, as well as the campus encampments in protest of Israel’s actions, and the shadowy organizations collaborating with the government to identify and persecute students and others who are critical of Israel.

“As we see less and less news coming out of Gaza, I urge people to not look away.”

Neha Madhira

With more than 180 journalists killed by Israel to date, media blackouts, and censorship on social media, Madhira writes to amplify the voices of her colleagues remaining on the ground, including those whose stories she wrote about in The Intercept.

“I have advocated for Palestine since I was a child, and at the beginning of October 2023, I was horrified at the language being used to dehumanize Palestinians,” she said. “As a journalist, I was seeing the gaps in Western media coverage and its support of Israel, and I wanted to help change this narrative in any way I could. As we see less and less news coming out of Gaza, I urge people to not look away and to pay closer attention to passive voice being used to describe the atrocities Palestinians continue to face every day.”

While the stories that Madhira tells are urgent and deserving of immediate attention, communicating with people on the ground in Gaza is a slow, challenging process. “Most of the people I’ve interviewed, whether that be journalists, or medical workers, or humanitarian workers, there is a small gap every single day that they have access to the internet, and we have used that to communicate with each other every single day,” she said. “I continue to do that because their voices are the most important and the most pertinent.”

Reporting from the U.S. on Palestine has not come without its own battles against censorship. Having experienced “shadow banning” that has limited visibility of her social media posts, she said the public must pay attention to the ways social media platforms moderate content to censor certain news, and she calls for users to consume content carefully. By amplifying journalists’ content on social media, independent reporting can reach wider audiences and fight against algorithmic suppression, Madhira added.

“There are a lot more people who are in the dark about what is happening than you would think,” she said. “There are so many nonprofit, independent newsrooms, not only in the U.S., but around the world who do incredible reporting for very little money, and it’s important to pay attention, because these journalists are some of the most skilled and experienced within their field.”

freedom.press/issues/freelanci…

What can you do with a laptop enough to drink even in the Puritan ex-colonies? 21 years is a long time for computer hardware– but [Chris] is using his early-2004 iBook G4 for game dev thanks to NetBSD.

Some of you might consider game dev a strong word; obviously he’s not working on AAA titles on the machine he affectionately calls “Brick”. NetBSD includes pygame in its repositories, though, and that’s enough for a 2D puzzle game he’s working on called Slantics. It’s on GitHub, if you’re curious.
Slantics: possibly the only game written on PPC Macintosh hardware this year.
Why NetBSD? Well, [Chris] wants to use his vintage hardware so that, in his words “collecting does not become hoarding” and as the slogan goes: “Of course it runs NetBSD!” It’s hard to remember sometimes that it’s been two decades since the last PPC Macintosh. After that long, PPC support in Linux is fading, as you might expect.

[Chris] tried the community-supported PPC32 port of Debian Sid, but the installer didn’t work reliably, and driver issues made running it “Death by a thousand cuts”. NetBSD, with it’s institutional obsession with running on anything and everything, works perfectly on this legally-adult hardware. Even better, [Chris] reports NetBSD running considerably faster, getting 60 FPS in pygame vs 25 FPS under Linux.

This is almost certainly not the year of the BSD Desktop, but if you’ve got an old PPC machine you feel like dusting off to enjoy a low-powered modern workflow, NetBSD may be your AI-code-free jam. It’s great to see old hardware still doing real work. If you’d rather relive the glory days, you can plug that PPC into a wayback proxy to browse like it’s 2005 again. If you get bored of nostalgia, there’s always MorphOS, which still targets PPC.

hackaday.com/2025/07/23/game-d…

One of the earliest commercially-successful camera technologies was the rangefinder — a rather mechanically-complex system that allows a photographer to focus by triangulating a subject, often in a dedicated focusing window, and and frame the shot with another window, all without ever actually looking through the lens. Rangefinder photographers will give you any number of reasons why their camera is just better than the others — it’s faster to use, the focusing is more accurate, the camera is lighter — but in today’s era of lightweight mirrorless digitals, all of these arguments sound like vinyl aficionados saying “The sound is just more round, man. Digital recordings are all square.” (This is being written by somebody who shoots with a rangefinder and listens to vinyl).

While there are loads of analog rangefinders floating around eBay, the trouble nowadays is that digital rangefinders are rare, and all but impossible to find for a reasonable price. Rather than complaining on Reddit after getting fed up with the lack of affordable options, [Mr.50mm] decided to do something about it, and build his own digital rangefinder for less than $250.

Part of the problem is that, aside from a few exceptions, the only digital rangefinders have been manufactured by Leica, a German company often touted as the Holy Grail of photography. Whether you agree with the hype or consider them overrated toys, they’re sure expensive. Even in the used market, you’d be hard-pressed to find an older model for less than $2,000, and the newest models can be upwards of $10,000.

Rather than start from scratch, he fused two low-cost and commonly-available cameras into one with some careful surgery and 3D printing. The digital bits came from a Panasonic GF3, a 12 MP camera that can be had for around $120, and the rangefinder system from an old Soviet camera called the Fed 5, which you can get for less than $50 if you’re lucky. The Fed 5 also conveniently worked with Leica Thread Mount (LTM) lenses, a precursor to the modern bayonet-mount lenses, so [Mr.50mm] lifted the lens mounting hardware from it as well.

Even LTM lenses are relatively cheap, as they’re not compatible with modern Leicas. Anyone who’s dabbled in building or repairing cameras will tell you that there’s loads of precision involved. If the image sensor, or film plane, offset is off by the slightest bit, you’ll never achieve a sharp focus — and that’s just one of many aspects that need to be just right. [Mr.50mm]’s attention to detail really paid off, as the sample images (which you can see in the video below) look fantastic.

With photography becoming a more expensive hobby every day, it’s great to see some efforts to build accessible and open-source cameras, and this project joins the ranks of the Pieca and this Super 8 retrofit. Maybe we’ll even see Leica-signed encrypted metadata in a future version, as it’s so easy to spoof.

youtube.com/embed/uzDwgYQVdWs?…

hackaday.com/2025/07/23/fusing…

We’ve seen our share of blinking light projects around here; most are fairly straightforward small projects, but this entry to the 2025 One Hertz Challenge is the polar opposite of that approach. [Peter] sent in this awesome tower of 16bit relay CPU power blinking a light every second.

There’s a lot to take in on this project, so be sure to go look at the ongoing logs of the underlying 16-bit relay CPU project where [Peter] has been showing his progress in creating this clicking and clacking masterpiece. The relay CPU consists of a stack of 5 main levels: the top board is the main control board, the next level down figures out the address calculations for commands, under that is the arithmetic logic unit level, under the ALU is the output register where you’ll see a 220 V lamp blinking at 1 Hz, and finally at the base are a couple of microcontrollers used for a clock signal and memory. [Peter] included oscilloscope readings showing how even with the hundreds of moving parts going on, the light is blinking within 1% of its 1 Hz goal.

It’s worth noting that while [Peter] has the relay CPU blinking a light in this setup, the CPU has 19 commands to program it, enabling much more complex tasks. Thanks for the amazing-sounding entry from [Peter] for our One Hertz Challenge. Be sure to check out some of the other relay computers we’ve featured over the years for more clicking goodness.

youtube.com/embed/P7Qtw9os0EM?…

hackaday.com/2025/07/23/2025-o…