Connect with us

Technologies

‘Weather Whiplash’ Could Be a Disturbing New Normal in a Weird, Warming World

After praying for rain for weeks, the US state that saw some of the year’s biggest wildfires in 2022 found itself soon suffering a deadly deluge.

This story is part of CNET Zero, a series that chronicles the impact of climate change and explores what’s being done about the problem.

I’ve lived in the high desert of the southwestern US most of my life, primarily in New Mexico and Colorado. In those four decades, I’ve never seen it as dry here as in 2022. In all that time, I’ve also never seen it as wet as this year.

In northern New Mexico, the year began with months of unseasonal heat, dryness and extreme wind that fueled the largest wildfire of the year in the lower 48 states. It burned through 340,000 acres of the Sangre de Cristo mountains and destroyed or damaged over a thousand homes and other structures.

Then, in the middle of June, the annual monsoon rains thankfully arrived to douse the fires. But they stayed a couple months longer and dumped nearly twice as much moisture as the previous year (or the year before that). In fact, we were still seeing some monsoon pattern precipitation several weeks later than normal.

There’s a term for this remarkably rapid turnaround in weather patterns that an increasing number of scientists have begun to use, both in the mainstream media and academic publications: weather whiplash.

«The huge shift in weather you experienced in New Mexico this summer is a perfect example,» Jennifer Francis, acting deputy director at the Woodwell Climate Research Center in Massachusetts tells me.

Francis is lead author on a paper published in September in the Journal of Geophysical Research: Atmospheres on measuring weather whiplash events, which can be loosely defined as abrupt swings in weather conditions from one extreme to another.

At my home in the high desert this year, those swings translated into a Spring filled with smoke, heat, wind and the first emergency alert system notice I’d ever received warning me to get off the road immediately due to an approaching dust storm. By July the scene changed to one filled with rain, mud and more alerts, this time warning of flash flooding.

«Weather patterns are getting «stuck» in place more often, causing persistent heatwaves, drought, stormy periods, and even cold spells to happen more often,» Francis explained via email.

Her work shows all this stalled weather is connected to the rapid warming of the Arctic, which impacts the jet stream and in turn affects weather further south.

«These stuck weather patterns sometimes come to an abrupt end by changing abruptly to a very different pattern. This is weather whiplash.»

The phrase has been increasingly used in climate science circles for the past several years, but Francis points to a number of other instances of the phenomenon on full, sobering display in 2022 alone.

A July heatwave immediately followed exceptionally wet, cool weather in the Pacific Northwest and Northern Rockies in June. This turnaround was most dramatic in the Yellowstone region, where historic flooding in the first month of summer took many by surprise and claimed hundreds of homes but, somewhat miraculously, no lives. Shortly afterwards, temperatures soared several degrees above average and the region dried out.

Earlier in the year the inverse played out in Texas, where a spell of 67 consecutive dry, hot winter days in Dallas were followed by the city’s heaviest rains in 100 years, leading to flash flooding and a declaration of disaster by the state’s Governor.

Seasonal See-Saw

From late March until early June, much of northern New Mexico saw no measurable precipitation for a stretch of more than 70 days. Even for the current era, which many scientists suspect is the beginning of a megadrought in the southwestern US, that’s unusually dry.

This dryness, along with unseasonable heat and often extreme winds whipped up the embers of two controlled burns in the Santa Fe National Forest that had been secretly smoldering for months. Two wildfires sprang to life, eventually combining to form the 340,000-acre Calf Canyon-Hermit’s Peak fire complex.

The inferno burned homes, ranches, businesses and livestock, but didn’t claim any human lives – at least, not directly. Tens of thousands were evacuated from nearby cities and villages for weeks as fire devoured some of the state’s most rugged and beautiful terrain over the course of more than two months.

I visited some of the impacted communities to witness the total disruption and devastation while waiting to see if the flames would continue to push closer to my own community near Taos, less than 20 miles from the northwest edge of the fire.

For weeks it looked as though a nuclear bomb had been detonated just over the ridge of mountains near my home. A pyrocumulus mushroom cloud of smoke from the fire reached up into the atmosphere, a constant reminder of impending doom one valley over.

Sometimes the wind would shift and blow all that smoke our direction. It was possible to see this coming almost an hour in advance as a brown stream of smog would suddenly obscure the mountains. As it finally reached us, our eyes would water, our lungs would begin to burn and everything we wore or carried would take on the aroma of a barbecue. Minutes later, the sun would be blotted out on an otherwise sunny day. They were all sunny days back then.

My family would retreat inside every time the smoke came, of course. Then, in early June, another fire ignited on the opposite side of our community from where the megablaze was burning. We found ourselves surrounded. No matter which way the wind blew, there was a good chance it would blow smoke in our faces.

At this point our daughter was quarantined at home with COVID. We faced the very apocalyptic choice of keeping the windows open for better anti-viral ventilation or closing them to keep the smoke out. It wasn’t a particularly hard choice. We closed the windows. Inhaling smoke certainly isn’t great for getting over COVID, after all.

Then, in mid-June, both the weather and its impact took dramatic turns. The annual monsoon rains arrived right on time, and with an unusual intensity. Ironically, this is how New Mexico’s largest ever wildfire ended up claiming human lives after the flames had stopped spreading.

The burn scars left by wildfires absorb less moisture than healthy landscapes with plenty of vegetation, and that led to flash flooding. June and July in northern New Mexico saw repeated cycles of heavy rains, including a particularly heavy storm on July 21 that deluged the Calf Canyon-Hermit’s Peak burn scar. A flash flood tore through the Tecolote Canyon subdivision outside the city of Las Vegas, New Mexico, sweeping tons of mud, rocks, burned trees and even vehicles down the creek drainage. Tragically, three people were caught in the flood and died.

In the span of weeks, citizens in New Mexico went from fleeing fires to fleeing floods. Whiplash might describe the disjointed nature of this past summer, but it doesn’t begin to capture the anxiety brought on by this new realization that life in the 21st century might be about being ready for absolutely anything.

In June I was hauling water to my off-grid home in the back of a truck, 200 gallons at a time, and praying for the monsoon to arrive. The following month I was digging trenches to divert as much water as possible out of my driveway to lessen the persistent rain’s irritating habit of turning it into a muddy quagmire. This is to say nothing of the background anxiety created by nearby fires, floods and at least one epic wind event that took the roof off a neighbor’s house.

The Climate Connection

At least one group of researchers predicted this before it happened. Well, sort of.

On April 1, just five days before that massive fire in New Mexico sprang to life, a paper was published in the journal Science Advances titled «Climate change increases risk of extreme rainfall following wildfire in the western United States.»

The paper describes how scientists used climate models to predict that if global warming continues unabated, the western US will begin to see many more instances of extreme wildfires followed by extreme rainfall. They didn’t wait decades to see their predictions come true. It happened just weeks later.

«I would qualify what happened in New Mexico as extreme precipitation following extreme wildfires,» UCLA and National Center for Atmospheric Research climate scientist Daniel Swain, one of the authors of the study, told me. «Some of those fires were literally still burning pretty vigorously when the rain started. You really can’t get any whiplashier than that.»

Swain is one of a number of climate scientists digging into the data to determine what is creating this new, very 21st century sort of see-saw. One of the main factors, he says, is that the warming of the planet is accelerating the water, or hydrologic, cycle that moves moisture from surface water to the atmosphere and back again via precipitation.

«You actually get an exponential increase in the water-vapor-holding capacity of the atmosphere,» he explains.

Basically, for every degree centigrade of warming, the atmosphere can hold 7% more moisture. These increases compound over time, sort of like interest in a bank account, which provides the exponential acceleration of extreme rainfall events that are more frequent and more intense.

Swain describes our atmosphere as a sponge that grows ever larger as it warms, periodically soaking up potentially larger amounts of moisture and then dumping it all at once on some unfortunate locale. But this expanding sponge is also exacerbating dryness in places where it extracts an increasing amount of water out of the landscape.

This means drier dry periods and wetter precipitation events, sometimes back-to-back. Whiplash.

Swain cautions that it’s too soon to know how much of the weather whiplash experienced in northern New Mexico this year can truly be blamed on climate change versus just basic bad luck and the natural variation and randomness that we’d see in our weather patterns even without global warming.

Climate scientists have developed so-called «weather attribution» models that quantify the effects of climate change directly on specific weather events like what was experienced this year in New Mexico, but the process can take several months or longer.

Weirder than Warming

When I first started covering climate two decades ago, a climatologist told me the phrase «global warming» wouldn’t fully describe what was going to happen to our environment and that it would be more like «global weirding.»

That phrase never caught on, but I’m starting to think weather whiplash might be its appropriate successor.

For decades now, talk about the warming climate has focused on increasing temperatures, but usually these are increasing average temperatures. However, we don’t experience climate in the aggregate. We live it day-to-day as weather that is increasingly extreme.

«If you get 20 inches of rainfall distributed as half an inch a day for 40 days it’s a very different picture than getting 20 inches of rainfall because it rains 10 inches one day and 10 inches the next,» Swain suggests. «The average might be the same, but you’re living in a completely different world.»

In other words, our experience of climate change can’t be fully captured by talking about how much temperatures or sea levels or rainfall are rising. It’s the extremes and the weirdness and the chaotic swings from one state to another that tell the real story and inflict the most trauma.

At the point this summer when wildfires were burning on both sides of our community I had a weird flashback to my childhood. One of my favorite things to read as a kid in the previous century was Choose Your Own Adventure books. They had this intoxicating ability to provide both an escape and agency at the same time.

It feels like we could use a little more of both things right now. Life today has the feel of all the potential adventures in those books happening back-to-back and often simultaneously. The only choice is to be ready for anything.

Related Topics:

Technologies

Can My iPhone 17 Pro Match a 6K Cinema Camera? I Teamed Up With a Pro to Find Out

I put a video shoot together to see just how close an iPhone can get to a pro cinema setup.

The iPhone 17 Pro packs a powerful video setup with a trio of cameras, large image sensors (for a phone), ProRes raw codecs and Log color profiles for advanced editing. It makes the phone one of the most powerful and dependable video shooters among today’s smartphones. 

Apple often boasts about famous directors using the iPhone to shoot films and music videos. The company even records its event videos for new products with the iPhone. 

But is the iPhone really good enough at shooting video to replace a traditional cinema camera? To see how good the iPhone 17 Pro is for professional use, I gave it a proper test.

I put together a video shoot where I pitted the $1,000 iPhone against a full professional cinema camera rig, worth thousands of dollars, to see just how well Apple’s phone can hold its own. I planned a video production at my favorite coffee roaster in Edinburgh, called Santu, which is based in a stunning building that I knew would look amazing on camera. 

To give both cameras the best chance, I worked with Director of Photography Cal Hallows, who has been responsible for production on major shoots around the world, working with brands including Aston Martin, the BBC, IBM and Hilton Hotels.

Here’s what happened.

Our filming equipment

We didn’t use any external lenses with the iPhone; instead, we relied on either the built-in main, ultrawide or telephoto options. I shot my footage using the BlackMagic Camera app. I had a Crucial X10 external SSD since I was recording in Apple’s ProRes raw codec, which creates large files.

I also had a variable neutral density filter to achieve a consistent shutter speed. For some shots, I used Moment’s SuperCage to help give me a better grip — and therefore smoother footage. But for other shots, I just used the phone by itself to make it easier to get into tight spaces. More on that later.

The iPhone’s competition was the $3,300 BlackMagic Pyxis 6K. It’s a professional cinema camera with a full-frame 6K resolution image sensor and raw video capabilities. I paired that with some stunning pro cine lenses, including a set of Arles Primes, the XTract Probe lens from DZO Film and a couple of choice cine primes from Sigma. It’s a formidable and pricey setup for any cinematographer. 

The shoot day

We shot over the course of a single day. I’d already created a rough storyboard of the shots I wanted to get, which helped me plan my angles and lens choices. I wanted to try and replicate some angles directly with both cameras. 

This shot of the store room being opened (above), for example — was a lovely scene, and I didn’t see much difference in quality between the iPhone’s video and the BlackMagic’s. This was the case with a few of the scenes we replicated. Apple’s ProRes raw codec on the iPhone provided a lot of scope for adjusting the color, allowing us to create beautiful color grades that looked every bit as striking as footage from the Blackmagic camera. 

Sure, you could tell that they were different, but I couldn’t honestly say if one was better than the other.

Other shots were more difficult to replicate. I love this low-angle of the roastery owner, Washington, pulling his trolley through the scene. On the iPhone, the main lens wasn’t wide enough to capture everything we wanted but switching to the ultrawide was too much the other way and we ended up having spare gear and other people in the frame. 

This made several shots a challenge to replicate as the fixed zoom ranges of the iPhone simply didn’t translate to the same fields of view offered by our lenses on the BlackMagic camera. As a result, getting the right framing for shots from the iPhone was trickier than I expected. But focal length wasn’t the only reason using «real» lenses was better. 

The DZO Arles Primes are awesome cinema lenses that offer wide apertures that allowed us to shoot with gorgeous natural bokeh. We used this to our advantage on several shots where we really wanted the subject to be isolated against an out-of-focus background. 

Secret weapons

That was especially the case when we used our secret weapon: the DZO Films Xtract probe lens. This bizarre-looking, long, thin lens gives both a wide-angle perspective coupled with a close focusing distance. 

I loved using the probe lens for this shot, particularly where we’ve focused on exactly where Washington was using the bean grinder. I tried to replicate it on the iPhone using the close-focusing ultrawide lens and the shot looks good, but it lacks the visual sophistication that I can get from a big, professional camera. Especially because the lack of background blur makes it easier to see distracting background items stored under the counter that are otherwise «hidden» in the blur on the main camera. 

But the iPhone has its own secret weapon, too. Its size. The tiny dimensions of the iPhone — even with a filter and the SSD crudely taped to it — is so small that we were able to get shots that we simply couldn’t have achieved with the big cinema camera.

In particular, this shot, where I rigged the iPhone to an arm inside the cooling machine so that it travelled around as the beans were churned. I love this shot — and a top-down view I shot of the arms turning beneath. Both angles give this incredible energy to the film and I think they are my favourite scenes of the whole production. It wasn’t easy to see the phone screen in these positions but SmallRig’s wireless iPhone monitor made it much easier to get my angles just right. Trying to rig up a large, heavy camera and lens to get the same shots was simply out of the question.

How well did the iPhone compare?

I’m really impressed with both cameras on this project, but my expert Director of Photography, Cal, had some thoughts, too. 

«The thing I really found with the iPhone,» Cal explained, «was simply the creative freedom to get shots that I’d have never had time to set up. There’s only so long in a day and only so long you have access to filming locations or actors, so the fact that you can just grab your iPhone and get these shots is amazing.»

«I have used my iPhone on professional shoots before. One time in particular was when I was driving away from set and I saw this great sunset. If I’d have spent time rigging up my regular camera, I’d have missed the sunset. So I shot it on my phone and the client loved it — it ended up being the final shot of the film. At the end of the day, a good shot is a good shot and it doesn’t matter what you shot it with,» said Cal.

So was it all good for the iPhone?

«The depth of field and the overall look of the cinema lenses still come out on top — you’re just not going to get that on a phone,» explained Cal. «When it came to grading the footage, I had to use a lot of little workarounds to get the iPhones to match. The quality quickly started to fall apart in certain challenging scenes that just weren’t a problem with the BlackMagic.»

So it’s not a total win for the iPhone, but then, I never expected it to be. The iPhone was never going to replace the pro camera on this shoot, but it instead allowed us to augment our video with shots that we would otherwise never have gotten. 

I love the creative angles we found using just the phone, and while Cal struggled to balance its colors as easily, the footage does fit in nicely with the rest of the video and makes it more dynamic and engaging as a result. 

And that’s not to say the shots we didn’t use from it weren’t good. I’m actually impressed with how the iPhone handled most of the things we threw at it. 

So don’t assume that if you want to get into filmmaking, you need to drop tens of thousands on a pro cinema camera and a set of cine primes. Your iPhone has everything you need to get started, and it’ll let you flex your creativity much more easily. 

Our days of shooting, editing and grading have proven that the iPhone isn’t yet ready to be the only camera you need on a professional set. But mix its small size in with your other cameras, and then you’ve got yourself a truly powerful production setup. 

Continue Reading

Technologies

I Tried These Turbocharged XR Sunglasses at Disney Studios and Got a Stunning New View

I checked out Disney-backed startup Liminal Space’s tech in person. Its glasses are a theme park experience waiting to happen.

Standing on a crate inside Walt Disney Studios Stage 1 is Rocket from Guardians of the Galaxy. He’s talking with a crowd of people wearing the same ordinary-looking sunglasses that I am, and is larger than life, speaking with full-body movements and natural gestures.

Then I take off the glasses, and I can see that Rocket was on a screen, not an animatronic figure standing on the physical crate. When Rocket stops moving, out from behind a curtain — Wizard of Oz-style — steps an actor who’s been doing all the movements and voice work on Rocket’s behalf.

I could wear these glasses all day and never know there’s anything out of the ordinary about them. They’re regular sunglasses when you’re outdoors, before transforming into XR glasses when you look at a special screen.

Don’t miss any of our unbiased tech content and lab-based reviews. Add CNET as a preferred Google source.

The LED screen technology and glasses come from Liminal Space, a startup selected as part of the 2025 Disney Accelerator Program. Starting out by providing AR experiences at music concerts, Liminal Space creates display systems with microLED chip technology. This produces holographic 3D displays used for everything from stadiums and arenas to smaller spaces like attractions and galleries.

During a Demo Day event at Walt Disney Studios in Burbank in November, Liminal Space co-founder and CEO Nathan Huber explains on-screen that he wanted to improve on how virtual reality is a «solo, isolating experience» because you’re wearing a hulking headset alone, and all you can see is the display. You can’t share it with the people around you.

«We can give you that same level of immersion and awe [as VR], but you can now see your friends and family … and do it all for one to 10,000 people at the same time,» Huber says in the Demo Day video, describing a world where things are «augmented by digital enhancements all around you.»

Liminal Space’s sunglasses are a little closer to augmented reality (AR) than they are to VR, as well as a huge step up from old-school 3D glasses that are currently used in theme parks. 

Whereas VR — like Apple’s Vision Pro and Meta’s Quest 3 — requires a headset and drops you into a fully virtual world, AR overlays the real world with graphics. Smart glasses, like Meta’s Ray-Bans (which Disneyland has already been experimenting with), use AR to overlay information over the real world, as well as providing camera-recording functions and phone connectivity.

As theme parks compete with one another to provide their guests with the most immersive atmosphere possible, Disney’s backing of Liminal Space shows it’s interested in adding more hyperrealistic screens to its parks.

How realistic are these XR visuals?

After Rocket steps away, the Liminal Space demo screen takes us through the world of Avatar, showcasing landscapes from the upcoming sequels (no photos allowed). We soar through thick green vegetation, pulsating trees, floating cliffs, neon flowers and flying reptiles.

«The quality of the visuals — it is bright, it is crisp, I am seeing details in this footage that I’ve never seen before,» Leslie Evans, executive Imagineer at Walt Disney Imagineering R&D, says in the video. «People painstakingly rendered these scenes, and if that’s happened, I want you to see every detail. I want the contrast to be top-notch, I want you to feel like it’s real.»

It does feel as real as 3D and VR can: Everyone gasps as we reach a summit in the Avatar world and tilt forward, «falling» down into the rainforest below. Despite these dizzying heights, it’s somehow less nauseating than strapping on a full VR headset and gazing into another reality. Maybe it’s because you can still see the real world around you, or because you’re not wearing a heavy headpiece.

Leaving aside the comparisons to VR and AR, these glasses offer a far more sophisticated version of the screens on the Avatar Flight of Passage ride at Disney’s Animal Kingdom in Florida, especially with those new Avatar visuals I experienced. Liminal Space’s sunglasses are the next step up from those awkward, plasticky sets handed to you at the start of rides and shows like PhilharMagic and Toy Story Mania — the ones you’re told not to wear until the show starts, and that only really work if you’re looking dead straight at the screen and position them just right — with the idea being that you could walk around comfortably in them all day and have them work everywhere. 

This seems to be what Disney intends to do with the technology (Disney tells me it’s still exploring possibilities and doesn’t have anything to share just now). The glasses do double duty, both as sunglasses and whenever you come into contact with a screen at an attraction or while strolling through a land. 

Modular screens throughout theme parks?

The Liminal Space glasses also work from multiple viewing angles while looking at screens, which helps create the feeling of total immersion.

Michael Koperwas, supervisor of Creative Development and Digital Design at Industrial Light & Magic — the famed visual effects studio founded by Star Wars creator George Lucas in the 1970s — spoke about using modular screens from Liminal Space for park experiences.

«All of these different screens create these low-friction, wonderful ways to expand the world that you’re already in,» Koperwas says during the Disney Demo Day showcase video. «Having a modular display like that is essential to creating these locations that feel seamless, feel magical, feel wonderful, and are just full of surprises.»

The company’s glasses are cheap to make, Liminal Space says, meaning theme parks could easily provide thousands of pairs to guests, who could even leave with them at the end of the day and bring them back for their next visit.

It wouldn’t be Disney’s first park wearable: In 2013, Disney introduced the MagicBand for guests to buy and wear at Walt Disney World, allowing them to swipe the band to enter parks and their hotel rooms, and to pay for merchandise and food. The MagicBand Plus added more functionality and came to Disneyland in 2022.

At Liminal Space’s demo, I switch from black-framed sunglasses to white ones and walk into the next room. It has an enormous circular screen showing Impressionist artworks, fading out of one and into the next. A gargantuan Vincent Van Gogh stares at me, inviting me to step inside his Self-Portrait with a Straw Hat. The image shifts to Van Gogh’s Sunflowers, and the soft saffron petals curl out toward me.

The image changes again, and this time I’m not just looking at a centuries-old painting — I’m standing in a European street as snow falls around me. Like a child watching a 3D movie for the first time, I can’t help but reach out to try to touch the drifting snowflakes. Through the Liminal Space sunglasses, they’re moving all around me. 

And unlike those traditional 3D glasses you’d wear to watch a show in Disneyland, where the image doesn’t appear to be any closer if you move closer to the screen, Liminal Space’s demo feels like you’re stepping into the video itself. As I walk slowly closer to the falling snow, it begins to fall around me, moving into my peripheral vision as well as in front of me.

Walt Disney Imagineering wants to give park guests immersive experiences like these that don’t just feel like looking at a TV, says Jody Gerstner, executive of Show Systems at Walt Disney Imagineering. 

«Because the circular [screen] performs so well with this bright an image, and because the filter gives you an unfettered view when you move your eyes back and forth, it could be a big win in our guest quality,» Gerstner says in the Demo Day video.

Speaking to a packed theater, Bonnie Rosen, general manager of Disney Accelerator, says the whole point, whether it’s AI, 3D printing or VR, is creating imagination that comes to life. 

«Innovation happens every day at Disney,» she says. «This company lives and breathes creativity. We just don’t talk about it until it looks inevitable, and then someone calls it ‘Disney magic.'»

Continue Reading

Technologies

Verum Messenger: A Privacy-Driven Ecosystem With AI, Crypto Mining, and Global Connectivity

Verum Messenger: A Privacy-Driven Ecosystem With AI, Crypto Mining, and Global Connectivity

As digital privacy becomes both a global concern and a personal necessity, Verum Messenger for iOS positions itself as more than another encrypted chat app. It offers a full ecosystem built around anonymity, user control, and technological independence — including AI tools, anonymous email, built-in eSIM, secure VPN access, and even cryptocurrency mining directly inside the messenger.

In an era of surveillance, data leaks, and intrusive applications, Verum represents a shift toward user-owned digital identity.

A Messenger Designed for Complete Anonymity

Unlike platforms that require phone numbers, email addresses, or personal details to sign up, Verum Messenger removes the concept of identity tracking altogether. Registration requires no personal information.

Users receive a unique Verum ID and a Recovery Key, both stored solely on the user’s side. All encryption keys are generated locally on the device and never transmitted to servers — eliminating the risks associated with centralized storage.

Communication Built on Trust and Security

Verum’s communication tools cover all standard messenger functions but enhance them with multilayered protections that exceed current industry norms.

Key security features include:

  • End-to-end encrypted chats and calls
  • Protection against screenshots and screen recording
  • Alerts when someone saves or downloads media
  • One-tap full data wipe
  • Disabled message forwarding, copying, and exporting
  • Temporary messages with customizable timers
  • Support for large private communities (up to 10,000 participants)

A particularly distinctive feature is mandatory chat confirmation:

— No one can message, call, or add you without your explicit approval.
— This effectively blocks spam, fraud, unsolicited outreach, and unwanted communication at the source.

Built-In Tools Without Compromising Privacy

Verum AI

Verum integrates an intelligent chatbot — similar to GPT — directly into the messenger. Unlike typical AI tools, which rely on cloud processing tied to user identities, Verum adheres to its core privacy principle: no personal data is shared with external systems.

Verum Mail

The built-in anonymous email service enables users to send and receive messages securely. Emails can auto-delete after a chosen period, minimizing digital traces.

Verum eSIM

A built-in eSIM marketplace provides mobile internet in 150+ countries — essential for travelers, freelancers, journalists, and remote workers.

No physical SIM cards. No roaming. No long-term contracts.

Integrated VPN

A native VPN ensures encrypted and private internet connections, adding an additional layer of protection beyond messaging alone.

Crypto Mining Inside the Messenger

One of Verum Messenger’s newest and most innovative features is something no mainstream secure messenger offers: built-in cryptocurrency mining.

Users can mine:

Mining operates directly within the application — with no specialized hardware or external services required.

Why Verum Stands Out

Today’s digital environment forces people to juggle countless separate apps — one for a VPN, another for mobile data, a different one for AI tools, crypto management, and secure messaging. Verum Messenger brings all of these capabilities together in one platform, without ever compromising privacy or user autonomy.

Verum Messenger combines them all into a single platform without sacrificing privacy or user autonomy.

Instead of functioning as a social network, it becomes a private digital workspace — secure, anonymous, and self-contained.

Verum Messenger is available on the App Store.
Account activation is a one-time process; no subscription is required.

Official website: https://verum.im
iOS app: https://ios.verum.im
Documentation: https://docs.verum.im

Continue Reading

Trending

Copyright © Verum World Media