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Google's own word processor has a lot going for it, what with the way it seamlessly bridges between its different host platforms (as opposed to Microsoft Word, which is much clunkier on mobile). Interestingly, though, one of the features missing from Docs exposes a divide between versions of the product. That missing feature is dark mode — which is present on mobile but missing on the web version. Dark mode is a glaring omission on the website version of Google Docs, so it's lucky that there are ways to get around this shortcoming both within and without Google's direct remit. 

Official routes to dark mode on Google Docs

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Google began to make dark mode available to Docs on mobile in 2020, first with Android and later with the Apple version of the application. In either version, you can find dark mode via Menu > Settings > Theme (or Choose Theme if you're using Android). From there, you can choose Dark, Light or System Default.

Unfortunately, you won't find this range of brightness options on Google Docs' own website. Google hasn't listed an official reason for this favoritism toward the mobile end of its offerings, but it has at least offered a single in-house workaround via Chrome's experimental features. By searching chrome://flags in Chrome, you can access these features and search for "Auto Dark Mode for Web Contents" — but be warned: these features are experimental and could compromise browser data and device security, so you're taking a risk by toggling this feature.

Dark mode on Google Docs via browser extensions

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Luckily, there are ways of accessing dark mode without risky experimental toggles. You don't have to wait for the future of Google Docs to access browser extensions today — and that includes Google Docs Dark Mode in the Chrome Web Store (or an alternative for your browser of choice, such as DocsAfterDark on Firefox). It's not the only extension that covers this area, but it's a great choice, and it's easy to get working.

A free download of this browser extension will automatically activate dark mode in Google Docs. However, if you want to change up your dark mode settings (or disable the extension entirely), you'll want to hit the Extensions icon next to the search bar (which looks like a puzzle piece and is in the top-right of the screen). Here, you can not only disable the mod, but you can also select a color theme and tweak individual sepia, contrast, grayscale and brightness settings. In addition, this extension will automatically disable dark mode for prints — so don't worry about toggling it on and off all the time. %!s()

The handover involved priceless religious objects removed from Greece at the height of the first world war, as well as remains thought to belong to Tsar Samuel, Bulgaria’s revered medieval warrior ruler.

Greece hailed the exchange as emblematic of the headway countries could make in similar repatriation disputes, with the prime minister, Kyriakos Mitsotakis, saying he hoped the accord would bolster Athens’ campaign to retrieve the Parthenon sculptures and send a clear message to Britain.

“The global community is essentially re-evaluating its longstanding stance on protecting cultural heritage,” he told a crowd gathered for the ceremony in Thessaloniki on Saturday. “This shift is embodied by today’s initiative, which rests on the obvious principle that monuments and historical heirlooms cannot be treated as spoils of war, nor as the result of circumstances subsequent to their creation.”

The Greek-Bulgarian deal, reached after 50 years of intense cultural diplomacy between the two neighbours, was also an example of the “political will” needed to settle the west’s longest running cultural row, Mitsotakis said, referring to the fifth century BC Parthenon marbles. “It took time, and above all, political will and determination to overcome the obstacles of the past,” he added.

Under the agreement, 48 relics, including icons, crosses and ornate ecclesiastical vessels, pillaged by Bulgarian troops from churches and monasteries in northern Greece during the first world war, will be returned to Athens. In the more than 100 intervening years, they had been safeguarded at the National History Museum in Bulgaria.

Meanwhile, the remains of Tsar Samuel, regarded as a national hero for his role in battling to preserve his country’s independence from the Byzantine empire, were discovered by archaeologists more than 60 years ago in a border area of Greece.

Authorities arranged a homecoming with full state honours, with the tsar’s bones flown to Sofia, the Bulgarian capital, on a military aircraft accompanied by an escort of jet fighters and a 21-gun salute upon arrival. Free transport had been organised for pilgrims to pay their respects.

In his own address at the handover, Bulgaria’s prime minister, Rumen Radev, a former air force officer, said: “These are items that belong to both our peoples; they constitute our memory and our bond, and our compatriots and future generations deserve, and must have, the opportunity to pay tribute to their ancestor. If in the past Tsar Samuel divided us, I can say that today he unites us. He strengthens our strategic cooperation and makes the historical relations between our states and peoples even stronger.”

Mitsotakis emphasised that Greece’s campaign to win back the Parthenon marbles was neither “dictated by a vague national claim, nor does it call into question the mission of museums worldwide”.

Athens remained committed to repatriating the sculptures, he said, because it would allow viewers to fully enjoy what has long been seen as the high point of classical art if the masterpieces were reunited.

“It is precisely this same principle – the principle of the integrity of a monument – that underpins our continuous efforts to reunite the Parthenon sculptures. The Parthenon constitutes a unique and singular case,” he said of the building that is the predominant temple on the Acropolis of Athens.

“[The campaign] is about the restoration of a universal monument that remains violently dismembered. My country will not accept arrangements that imply recognition of foreign sovereignty or the supposed borrowing of its own treasures. On the contrary, it now believes that the time has come for truth, for reason, for justice and morality.”

The fifth century BC carvings were sawn from the Parthenon on the order of Lord Elgin, Britain’s then ambassador to the Sublime Porte, in what have since become highly contentious circumstances.

They were acquired by the British Museum in 1816 after the bankrupt peer was forced to sell them and have been on display there ever since. %!s()

The next iteration of RE Engine is being built so Capcom can make games "together with AI," although it's still not using generative AI

Resident Evil and Onimusha developer Capcom plans to embrace AI in game development

Image: Capcom

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A Capcom developer recently made some eyebrow-raising statements about integrating AI into RE Engine, the game engine Capcom uses to make games like Resident Evil Requiem, Pragmata, and Onimusha: Way of the Sword. While it hasn't fully embraced generative AI to create in-game content yet, Capcom outlined a goal to forge "a future where we create games together with AI."

These surprising statements came from programmer Satoshi Ishida at Capcom Open Conference RE: 2026, a tech conference that the company holds to showcase developments on the RE Engine. Reported on first by GameBiz and translated by IGN, Ishida discussed the REX Project, which is meant to evolve RE Engine "for the next generation."

Many of these improvements aren't AI-related and simply focus on things like data formatting or memory management. That said, Ishida also made comments like "successfully integrating AI technology into development workflows has become an essential condition for streamlining future development," and "our goal is a future where we create games together with AI."

Those statements are certainly red flags if you don't want AI involved in game development, although the kind of AI Ishida refers to differs from generative AI used to create art or other game assets. As of March 2026, Capcom had told investors that it did not plan to use generative AI to create content for its games. Resident Evil Requiem was one of the games used in Nvidia DLSS 5's controversial reveal.

For now, Capcom's interest in AI seems primarily workflow-driven, so we shouldn't expect the next Resident Evil game to be produced entirely with generative AI. Still, if you're like me and enjoy Capcom's games but are anxious about generative AI continually seeping its way into the game industry, these new statements are nerve-wracking. The hand-crafted feel of Capcom's games is part of what makes them so great in the first place. %!s()

On Wednesday, Florida’s first district court of appeal reversed Jewell’s convictions for third-degree felony murder and leaving a child unattended in a vehicle, finding that both required Jewell to have knowingly left Ariya in the car.

The charges against Jewell represented an attempt to dramatically expand the felony murder doctrine, a sweeping legal theory in which any individual involved in a felony that leads to a death can be held criminally responsible for that death. Nearly every state, as well as the federal government, has some form of a felony murder rule. These statutes have resulted in shocking outcomes: women being convicted of murders committed by their abusers, the friends of a 19-year-old boy who was killed by law enforcement being charged with his death and a man being held responsible for a fatal accident that occurred while he was handcuffed in the back of a police car miles away.

Defenders of the felony murder doctrine argue that even if an individual didn’t intend to kill anyone, because they made the choice to commit a felony that resulted in death, they should be held responsible for the resulting harm. But Jewell’s case represented a stark departure from this logic. At trial, jurors were told they did not need to find evidence that she intended to commit the underlying felony of leaving Ariya in her car – or even knew it was happening – in order to convict her of third-degree felony murder. In fact, jurors acquitted Jewell of aggravated manslaughter, the only charge they were told required a finding that Jewell acted in a way that showed reckless disregard for the baby’s life.

“This really takes tragic accidents and elevates them to murder offenses,” Caitlin Glass, a Boston University School of Law instructor, who co-authored an amicus brief in support of Jewell, told HuffPost.

More than 650 children in the US have died after being accidentally left in hot cars since 1990, when the rise of airbags prompted parents and caregivers to put young children in the back seat, according to Kids and Car Safety. The deaths follow a familiar pattern: the parent or caregiver is usually stressed, exhausted, distracted or navigating a change in routine. The baby is asleep and out of view in a rear-facing carseat in the backseat of the car.

Whether these deaths are treated as tragic accidents or punished as crimes is remarkably arbitrary – but it is exceedingly rare for prosecutors to bring felony murder charges in these cases. Amber Rollins, the executive director of Kids and Car Safety, told HuffPost she was aware of fewer than 10 cases in which the responsible adult was charged with felony murder after accidentally leaving a child in a car.

Jewell, who was close friends with Ariya’s family, struggled with depression, panic attacks and suicidal thoughts after the baby’s death. “I feel guilty if I laugh or smile. I just have so much guilt from that day,” she told HuffPost. “I don’t know how it happened. I just go over and replay it in my head and say, ‘what if’ or ‘why not,’ ‘Why didn’t I just – why? Why?’”

On Wednesday, Florida’s first district court of appeal appeared to reject the use of felony murder charges in accidental hot car deaths. “Third-degree felony murder cannot be based on an unenumerated predicate felony that does not require any proof of intent,” the court wrote in its opinion. “This case highlights how imperfect our criminal justice system is to adjudicate an accidental death. There are no winners here; moral outrage is not assuaged. And beneath the tragedy, the issues are legally important.”

Christine Monta of the MacArthur Justice Center, one of the lawyers representing Jewell on appeal, said in a statement: “Tragic accidents are not the equivalent of murder, and the court rightly recognized that Ms Jewell should not be criminally punished for an act that the State of Florida did not – and cannot – prove was knowingly and consciously done.”

The appellate court called for the case to be remanded to the trial court for a new trial. Brian Kramer, a Baker county state attorney deferred to the attorney general’s office, which did not respond to a request for comment. An attorney representing Ariya’s family in a civil suit did not respond to a request for comment. %!s()

Olympia, Washington rocker Donna Dresch started this DIY lesbian all-star crew when she was already one of the most respected musicians in the Northwest scene, playing guitar in Dinosaur Jr., Screaming Trees, and Fifth Column, also publishing her influential feminist punk zine Chainsaw. Team Dresch have kept regrouping for killer live shows, but now they’re back with their first album in 30 years, the brutal and inspirational Furthermore. It’s full of anthems about hanging tough through the decades. “Growing Underground” has them chanting the vow, “You can’t erase us! We’re stars” — definitely a queer rallying cry for our times.

Today guitarist Jody Bleyle, bassist Kaia Wilson, and drummer Melissa York are all Zooming from their home bases, scattered around the country. They’ve remained dedicated to keeping the band together, playing to crowds who are conspicuously, almost shockingly young. It’s a fact that hasn’t escaped their attention. “Seeing young people at the show is the best feeling,” Bleyle says. “It’s kind of mind-blowing. But it always surprises me and feels really good.” As Wilson puts it, “The youth need a hug.”

But they’re returning at a grim time for the state of the union, especially for queer fans. As  Bleyle quips, “Should we just thank religious extremists for the fact that we can just keep on doing what we do?”

Team Dresch blew up in a golden age for feminist punk rock, with all four members already established in their own bands. But they cheekily chose to name themselves after Dresch, a very Seventies-rock thing to do—Dresch wasn’t the singer, but she was older, and they all idolized her. “That is why the band is named after Donna,” Wilson says. “She was an inspiration to me. At age 16, I got my hands on a zine called Homocore, and in that Homocore was an ad for Donna’s Chainsaw zine. I started writing her letters. I was in high school. I was so tormented, gay in high school, and I’m just going to have to say that Donna saved my life. 

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“But we all have a different experience with finding each other in the music scene. I remember the first time seeing Jodi being like, ‘Oh, my God. That’s a real badass dyke, and I am a wuss.’”

“I didn’t know that,” Bleyle marvels with a hearty laugh.

“I was so scared to meet you!” Wilson says. “I was a poseur trying to be tough in the scene, but I was such a little baby. Very shy — I pretended I wasn’t, but I definitely was.”  Bleyle, like Wilson, was totally starstruck by Dresch. “My bandmates in Hazel introduced us, because they used to work together at the Smithfield in Olympia. But the first time I met Donna, I didn’t even say anything. I just sang the bassline from her seven-inch. It was like animals butt-sniffing.”

It didn’t take long for them to start playing music. “The three of us initially started the band together, me and Donna and Jodi,” Wilson says. “We found Marceo [Martinez], and then we found Melissa later, and now we’re a five-piece for life. But that experience of seeing the other dyke in the room who was really good at music—that was, for me, just the most mind-blowing moment of my life as a teenager.”

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There’s always been rage in Team Dresch’s music, but the main emotion that comes across is communal joy — that’s part of the kick of their excellent new album Furthermore. “I do it for you,” they declare in the excellent new anthem “One Song.” “The lonely young one that was me/Who’s in me/And who may be in you.” Countless lonely young ones over the years have heard themselves in Team Dresch’s music, which is why their music has never faded away.

The early Nineties was a turning point in rock history, where bands like Nirvana brought mass appeal to guitar rock, while the riot grrrl movement exploded as women punks started their own bands, zines, labels, scenes, on a level that had never happened before. Punk rockers began refusing to hide the queer sensibility that had always been in the music. “We wanted to meet other people like us,” Bleyle says. “We all were ‘music first, music first,’ but then I think each of us got to a place where it was like, ‘We’ve got to fuse these two parts of ourselves or it’s not enough.’ The band was a way for us to expand that space and meet people, basically, and the way to do that was to be really explicit about saying what we needed to hear. So it was very just instinctual — like survival instincts.”

Jody Bleyle was already the drummer for Hazel, while Kaia Wilson played in Adickdid (and later the Butchies) and her label Mr. Lady Records. Martinez was the drummer in Calamity Jane. Bleyle did the legendary Candy Ass label, which put out the original Team Dresch records, along with Dresch’s label Chainsaw. Candy Ass also put out the influential 1995 compilation Free to Fight, featuring crucial artists like Heavens to Betsy, Excuse 17, the Spinanes’ Rebecca Gates, and the Third Sex. It was dedicated to instruction in self-defense for women, in the face of misogynistic and homophobic violence. (“Target Practice” had the memorable chorus, “If you choose to fight / Remember these are the places to hit / Eyes, knees, groin, throat.”) These punks were not playing around.

When Martinez left after the first album, York took over the kit, but on Martinez’s return, the band just kept going with both drummers. (Martinez came out as transmasculine in 2019.) They’ve continually played killer live shows over the years — for all their individual projects, something has always kept calling them back to this core mission. Kaia Wilson once summed it up perfectly with the wise words of Stevie Nicks. “You can never get away from the sound of a woman who loves you,” Wilson said. “That’s our band. Our band is the woman who loves us.”

But in recent years, they felt the urge to write new material. “We had been talking about making a new record for so long and never did it,” Wilson says. “Fast-forward to a couple years ago, at a Buddhist restaurant, having a nice lunch on a tour in Oakland, California. Jodi freaked out and said, ‘I can’t keep playing these same 22 songs over and over—it’s like Groundhog Day.”

When they started working on these new songs on Furthermore, it was long-distance, via Zoom. But for them, that wasn’t so far from the spirit of the early days, when kids in different towns connected via zines and became long-distance pen pals. “We figured it out,” York says. “Because I was the only one who was on the totally other, opposite coast, I had to get scrappy with being involved in this process. I consider myself scrappy, and I’m in a band with four other scrappy people. We’ve always been scrappy.” As if to illustrate the point, York’s cat keeps forcefully clawing her way on camera. “Talk about dykes in the pit,” York says. “That’s what we call her. She’s very aggressive, but with a soft side.”

It’s definitely rare for bands to return sounding this recharged. “I just found out the other day from listening to our local radio station that Haircut 100 also just released their third record,” Bleyle says. “And it’s their first in 42 years. I was like, ‘We are soulmates! But I’m an uber-fan. I would air drum to Haircut 100 when I was wee little because I grew up in a one-bedroom apartment with me and my mom. There was no room for drums. But it was all about the freaking Haircut 100 and Donna Summer, I might add.”

One of Team Dresch’s most beloved songs is “Uncle Phranc,” about their experience as young punks meeting the legendary L.A artist Phranc, who used to play in hardcore bands like Catholic Discipline before her makeover as the self-proclaimed “all American Jewish lesbian folksinger.” She served as a mentor to Team Dresch’s generation. (As they sing, “She told me not to fuck with straight girls / She told me not to take pills.”) But by now, this band has hung in there long enough to become that same sort of mentor figure, communicating with younger listeners who weren’t born the first time around. 

“Yeah, it’s the gender euphoria, the queer joy,” Bleyle says. “It’s just giving yourself permission to just be as happy as you can fucking be. When we ask, ‘What do we want to experience for three minutes when we’re at the show?,’ it’s ‘I want this — I want to see all the beautiful faces just jumping up and down and knowing that they’re the fucking best.”

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“It doesn’t feel like it’s us, even,” Wilson adds. “It feels like we’re part of this thing with all these other people. So the live show just feels like that moment where we all get to be just exuberantly ourselves.”A major theme of the songs on Furthermore is their empathy for how tough it is for queer kids in the 2020s. When they were growing up, they didn’t see anyone like them in the music world, and they know how that feels. “You have this self-hatred, growing up in a world and not seeing yourself there,” Bleyle says. “It’s just so hard to really believe that you are worthwhile and that you don’t have some poison seed in you. So I feel like it probably feels good for them just to know that we’re just here, doing our thing. ‘Yep, we’re still here. You go out there in the world, where it’s scary and everything’s new for you. Don’t worry — Team Dresch is still going to be in the basement practicing, and if you guys make it over here, we’ll buy you food and there’s always some soda in the fridge.”

One of the album’s most powerful mission statements is “One Song,” with the opening proverb, “Some people say you only write one song / And that feels true.” So for Team Dresch, what’s the song they keep writing? “There’s your personal experience,” Kaia says. “You’re bringing that into a song, the one that you’re writing for yourself, but it becomes this whole other thing when it’s all of us together. Again, that’s coming back to this importance of being in a band with other queers. There’s something that happens when we get together, and that’s the one song.” It’s a song that has kept them going, individually and collectively, even in dark times. “I think the song is trying to say what we need to hear,” Jody says. “To keep ourselves alive and joyous and fighting.” %!s()