2026 started with a horrifying example of generative AI’s potential for abuse. Grok, the AI tool from Elon Musk’s xAI, was used to undress or nudify pictures of people shared on X (formerly Twitter) at an alarming rate. Grok made 3 million sexualized images over a span of 11 days in January, with approximately 23,000 of those containing images of children, according to a study from the Center for Countering Digital Hate.

Now, competitors like OpenAI and Google are stepping up their security to avoid being the next Grok.

Advocates and safety researchers have long been concerned about AI’s ability to create abusive and illegal content. The creation and sharing of nonconsensual intimate imagery, sometimes referred to as revenge porn, was a big problem before AI. Generative AI only makes it quicker, easier and cheaper for anyone to target and victimize people. 

On Jan. 14, two weeks into the scandal, X’s Safety account confirmed in a post that it would pause Grok’s ability to edit images on the social media app. Grok’s image-generation abilities are still available to paying subscribers in its standalone app and website. X did not respond to multiple requests for comment.

Most major companies have safeguards in place to prevent the kind of wide-scale abuse that we saw was possible with Grok. But cybersecurity is never a solid metal wall of protection; it’s a brick wall that’s constantly undergoing repairs. Here’s how OpenAI and Google have tried to beef up their safety protections to circumvent Grok-like failures.

Read More: AI Slop Is Destroying the Internet. These Are the People Fighting to Save It

OpenAI fixes image generation vulnerabilities

At a base level, all AI companies have policies prohibiting the creation of illegal imagery, like child sexual abuse material, also known as CSAM. Many tech companies have guardrails to prevent the creation of intimate imagery altogether. Grok is the exception, with «spicy» modes for image and video.

Still, anyone intent on creating nonconsensual intimate imagery can try to trick AI models into doing so.

Researchers from Mindgard, a cybersecurity company focused on AI, found a vulnerability in ChatGPT that allowed people to circumvent its guardrails and make intimate images. They used a tactic called «adversarial prompting,» where testers try to poke holes in an AI with specifically crafted instructions. In this case, it was tricking the chatbot’s memory with custom prompts, then copying the nudified style onto images of well-known people.

Mindgard alerted OpenAI of its findings in early February, and the ChatGPT developer confirmed on Feb. 10 — before Mindgard went public with its report — that it had fixed the problem.

«We’re grateful to the researchers who shared their findings,» an OpenAI spokesperson said to CNET and Mindgard. «We moved quickly to fix a bug that allowed the model to generate these images. We value this kind of collaboration and remain focused on strengthening safeguards to keep users safe.»

This process is how cybersecurity often works. Outside red-team researchers like Mindgard test software for weaknesses or workarounds, mimicking strategies that bad actors might use. When they identify security gaps, they alert the software provider so fixes can be deployed.

«Assuming motivated users will not attempt to bypass safeguards is a strategic miscalculation. Attackers iterate. Guardrails must assume persistence,» Mindgard wrote in a blog post.

While tech companies boast about how you can use their AI for any purpose, they also need to make a strong promise that they can prevent AI from being used to enact abuse. For AI image generation, that means having a strong repertoire of prompts that will be refused and kicked back to users. 

When OpenAI launched its Sora 2 video model, it promised to be more conservative with its content moderation for this very reason. But it’s important to ensure its moderation practices are consistently effective, not just at a product’s launch. It makes AI safety testing an ongoing process for cybersecurity researchers and AI developers alike.

Google upgrades Search reporting

For its part, Google is taking steps to ensure abusive images aren’t spread as easily. The tech giant simplified its process for requesting the removal of explicit images from Google Search. You can click the three dots in the upper right corner of an image, click report and then tell Google you want the photo removed because it «shows a sexual image of me.» The new changes also let you select multiple images at once and track your reports more easily.

«We hope that this new removal process reduces the burden that victims of nonconsensual explicit imagery face,» the company said in a blog post.

When asked about any further steps the company is taking to prevent AI-enabled abuse, Google pointed CNET to its generative AI prohibited use policy. Google’s policy, like many other tech companies’ fine print, outlaws using AI for illegal or potentially abusive activities, such as creating intimate imagery.

There are laws that aim to help victims when these images are shared online, such as the 2025 Take It Down Act. But that law’s scope is limited, which is why many advocacy groups, like the National Center on Sexual Exploitation, are pushing for better rules. 

There’s no guarantee that these changes will prevent anyone from ever using AI for harassment and abuse. That’s why it’s so important that developers stay vigilant to ensure we are all protected — and act quickly when reports and problems pop up.

(Disclosure: Ziff Davis, CNET’s parent company, in 2025 filed a lawsuit against OpenAI, alleging it infringed Ziff Davis copyrights in training and operating its AI systems.)

One of the coolest celestial events is happening this week, where six planets will be visible in the night sky at the same time. This phenomenon, known as a planet parade, occurs only a few times each year with varying numbers of planets.

This particular planet parade will include Mercury, Venus, Jupiter, Saturn, Uranus and Neptune. It’s just one planet shy of the full set, a phenomenon that is quite rare and most recently happened a year ago, in February 2025. You’ll need a telescope to see everything, especially since much of it will occur right at dusk, which will make a few of the planets harder to see. 

When will the planet parade happen?

The Northern Hemisphere will get its best glimpse at the planet parade around sunset this week. This one will be particularly challenging for skywatchers because of light pollution, as spotting planets with the sun even partially up is more difficult. Your best bet is around 6:45 p.m. local time, and your window will be exceedingly short. Mercury and Venus drop below the horizon roughly 30 to 45 minutes later, so that’s all the time you’ll have. 

The good news is that Mercury, Venus, Saturn and Neptune are all clustered together against the western horizon near the setting sun. Venus and Mercury will be right next to each other, and Saturn and Neptune will be clumped together nearby. That should make the four of them a little bit easier to spot, which is a boon for skygazers given the short window. 

Jupiter and Uranus will be the easiest to spot and will remain in the sky long after the other four planets have dipped below the horizon. Uranus will travel across the southern sky alongside the Taurus constellation before dropping below the western horizon a few hours after midnight. Jupiter will follow a very similar path to Uranus, but it is hanging out with the Gemini constellation.

All told, the best dates to view the planet parade in the US, Canada and Mexico are Feb. 21 to 28. Before Feb. 21, Venus and Mercury will be too close to the sun. Once March begins, Mercury will drift closer to the sun again, dipping below the horizon before it’s readily visible. Once that happens, the five-planet parade will continue for about another week or so before Neptune and Saturn dip below the horizon, thus ending the parade and leaving only Venus, Jupiter and Uranus visible in the sky. 

Will the planet parade be visible in my region?

Yes. We checked Stellarium’s sky map from several locations across the US, Mexico and Canada, and the planet parade was visible in every place we checked. According to Star Walk, the parade will be visible everywhere from Tokyo to London. We also checked the Southern Hemisphere, and it’ll be visible there as well. The dates vary based on location, but most places should be able to see it at some point between now and Feb. 28. 

How can I find the various planets in the sky?

The image above gives you a general idea of where they’ll be in relation to one another, but the best thing to do is check out a sky map and plan ahead. We recommend Stellarium’s sky map if you’re on a desktop and Stellarium Mobile (Android and iOS) if you’re using your phone.

We recommend finding Venus first because it’s the easiest planet to spot out of the four that are near the sun. You can then use the app to find the other three. Jupiter and Uranus are alone in the night sky and will remain there after the other four dip below the horizon, so we recommend finding those last, since they’ll be around longer. 

Will I need any special equipment to view the parade?

Yes. With four of the planets close to the sun, it will make them hard to spot with the naked eye, thanks to the light pollution. Uranus and Neptune are impossible to see without a magnification device of some sort, even in total darkness. A telescope is highly recommended. Astronomers suggest a minimum aperture of 8 inches and 50x magnification to get the best results. That is strong enough to see the rings of Uranus and Saturn. You need a telescope with roughly 150 times magnification to peep the rings on Neptune. 

The usual space viewing tips also apply. Get away from the city to a place with as little light pollution as possible, since you’re already fighting the sun to see these things. And be very careful not to point your telescope at the sun, since that can damage your eyes. Try to pick a night with as little cloud cover as possible. 

The first of three planet parades in 2026

Planet parades are uncommon, but sometimes the universe smiles on Earth. This year is going to be really good for planet parades, as three are expected in 2026. February is the first one. The other two are slated for April (five planets) and August (six planets). That means there are two more chances to watch a planet parade in 2026 if you miss the one in February.

At a record store in northern Los Angeles, I walked past racks of albums, a DJ spinning records and a stack of Dunkaroos, a cookies and icing snack that was all the rage in ’90s America. It felt like stepping back into an earlier era, the same one backdropping the upcoming game Mixtape, a story about a group of self-mythologizing teens hanging out before life pulls them away from their suburban American town.

In an amusing twist of fate, the main brain behind the game is an Australian rocker who didn’t step foot in the US until his 30s. Johnny Galvatron (a stage name and lead singer of the band The Galvatrons), creative director at studio Beethoven & Dinosaur, dreamed up Mixtape based on a blend of American youth culture that was broadcast worldwide, along with his own upbringing loving music of the period and playing in bands.

In a recording room behind the record store, I chatted with Galvatron about why a man from the Antipodes would tackle American youth, nostalgia through the lens of music and analog audio tech, the earnest wrongness of being a teenager and why the US is like Middle-earth.

I also got to play a short slice of Mixtape ahead of the conversation, a demo I originally saw at Summer Game Fest last year (but with a couple extra scenes exclusive to this event). It opened up with the game’s older teen heroine, Stacy Rockford, skateboarding down a winding road with her friends, lazily pulling kickflips and calling out oncoming cars in the golden hour before twilight, a fitting start for a game about the last days before adulthood knocks.

From what I saw, there’s a bit of overlap with other nostalgia-laden narrative games about teens growing up, such as studio Don’t Nod’s Life is Strange series or last year’s Lost Records: Bloom and Rage. But Mixtape avoids the plotty drama of those games in favor of lionizing the humble wonder of teens killing time. And it does it in style, with kinetic editing and needle drops that immerse players in the MTV-drenched lives of kids whose rebellious days are numbered. It’s tonally different, reflecting Galvatron’s memories of being an earnest teen, liking music and tossing out strong opinions.

«There’s a lot of stories about teenagers where they’re portrayed as very shy and not confident. And that’s not really my experience of being a teenager,» Galvatron said. «I was very confident and wrong about things and about how I felt about music.»

Galvatron’s earnest teenagehood was in Australia, but setting the game there might have been too close to home. Plus, his favorite music and culture came from America. Despite not coming to the US until he was 32, he’s watched America every single day of his life, he said. Seeing it in person is like coming to a theme park, or a fantasy land: «To people who live in Western cultures, America is Middle-earth,» Galvatron said.

The game is split into chapters, each patterned after a carefully-chosen song. They all come together in the titular mixtape, the swan song of a cherished friend group, one last rock-out to tunes that speak to the moment. It was those songs that drove the creation of the emotional sequencing of Mixtape, Galvatron told me. Whereas most games start development by creating a «vertical slice» that represents the core loop of the game, Beethoven & Dinosaur made «a real shitty version of the whole game» and swapped around the songs to see what different stories the configurations told.

«We would play with that soundtrack until it seemed to have this cinematic flow to it, like a really lovely narrative that chained these songs together,» Galvatron said. «Once we had that right, we could put the story and the characters in.»

Picking the songs was a delicate process to find the right tone (and to ensure variety, as Galvatron joked he kept wanting more Devo songs, which the team vetoed and limited him to one). There’s a pivotal moment in the game where the main character Rockford is betrayed by her friend, and despite digging up the saddest songs they could think of, none worked. So they flipped the emotions to the other extreme, trying tunes evoking over-the-top happiness like Stuck In The Middle With You, and went with songs from the artist BJ Miller from the 1960s, «and that seemed to make it just all the more devastating,» Galvatron said.

I saw parts of 4-5 song chapters out of what Galvatron told me will be a total of 26 or 27. But each felt like a sublime snippet (in Pixar parlance, a core memory) that the player gets to control, from an embellished shopping cart escape from the cops to a flailing first kiss of awkward tongues to rocking out in the car on the way to a party. It sounds mundane, but these delightful moments hearken to a time in everyone’s lives when the people and the songs around you elevated the simple into the unforgettable.

«We don’t have skill trees, we don’t have (gameplay) loops. We have moments where mechanics, music, dialogue, narrative all meet and hit these crescendos,» Galvatron said, and emphasized the importance of their brevity. «Get in, deliver the mechanic, make it beautiful, make it a great experience. Don’t overstay your welcome.»

It’s undeniable that Mixtape reaches back into the past to evoke a feeling of place and time, specifically this moment in the American 90s where music was blasting from cassette tapes and CDs. There’s a warmth to this equipment, Galvatron noted, and to the music it produces. Moreover, the tactility lends itself very well to touching, spinning and clicking motions on game controllers, giving players a real feel for the music they’re playing on screen.

Yet when I asked how he felt the game fit amid our current era of nostalgia — which media like Stranger Things have built IP empires upon with period-appropriate references, fashion and songs — Galvatron asserts that the game has a different aim than prompting viewers to remember specific songs, CD players and Tamagotchis. «What I want people to remember is when you defined yourself by the singles you liked, by art, and I think that’s something naive and sweet,» he said.

If the rest of the game meets the bar set by the demo I saw, players will be pretty awestruck by the polished, electric delivery of moments from scene to scene. Mixtape feels intentionally designed, likely meticulously storyboarded, to land moments with camera angles and timing that make you feel along for the ride.

Beethoven & Dinosaur’s strengths are leaning into the grandness of cinematics and music, Galvatron said. «That’s how I remember being a teenager,» he said, «[it’s] something theatrical and fast, and everything meant the end of the world or the start of the world.»