We are a new board overseeing Facebook. Here’s what we’ll decide.

Catalina Botero-Marino, Jamal Greene, Michael W. McConnell and Helle Thorning-Schmidt, The New York Times

Facebook announced the first members of its content oversight board this week, an independent body it pledged to form in November 2018. While the selections sparked almost immediate criticism, a few of the group’s members penned a New York Times op-ed to explain what just what they’ll do — including combating hate speech, harassment and other “challenging content issues.”

The first showing of Travis Scott’s in-game Fortnite concert has concluded, and according to Epic Games, more than 12.3 million players logged in at once to experience it. A few captured streams of the event, so if you’d like to check it out without waiting around for one for one of the upcoming showtimes for Astronomical, you can see it below.

Over 12.3 million concurrent players participated live in Travis Scott’s Astronomical, an all-time record!
Catch an encore performance before the tour ends: https://t.co/D7cfd2Vxcc

— Fortnite (@FortniteGame) April 24, 2020

The concurrent number would be a nice bump over the 10 million or so who were said to have tuned in for a Marshmello performance last year, and in a world without live concerts, present the game arena as an interesting location to host shared experiences.

In addition to the News app on Fire TV, #AtHome will curate the latest COVID-19 updates from ABC News, CBS News, Fox News, NBC News and more. NBC News will stream a kids edition of the “Nightly News with Lester Holt” twice a week. There will be plenty of other kids programming, too, both entertaining and educational. And if you’re looking for more workout inspiration, #AtHome will feature apps from Peloton, Yoga International, Gaia and others.

Amazon plans to add more content, including more educational content, and will expand #AtHome to the UK, Germany, France, Italy, Spain, Japan, Canada and India.

On April 18th, late night hosts and celebrities will participate in One World: Together At Home, a virtual benefit concert to raise money for the COVID-19 Solidarity Response Fund. The multi-hour digital broadcast will stream on several platforms, including Apple, Facebook, Instagram, Twitch, Twitter and YouTube, as well as traditional TV networks, like ABC, NBC and ViacomCBS.

Jimmy Fallon, Jimmy Kimmel and Stephen Colbert will host the fundraiser, and musicians from Billie Eilish to Alanis Morissette, Chris Martin, Elton John, John Legend and Kacey Musgraves are scheduled to perform. Proceeds from the event, which is being organized by Global Citizen and the World Health Organization, will help get protective equipment to healthcare workers and support charities providing food and shelter to those in need.

The festival will also include some YouTube-exclusive canned segments, including backstage moments that will sometimes pop up inside the live streams. In that light, Lollapalooza is as much a opportunity for YouTube to flex its creative muscles as it is about raking in views. Don’t be surprised if you see the company leaving more of its mark on festivals going forward.

Lyft will offer scooter and bike rideshare options to help festival attendees get to their show on time. There will also be dedicated “Lyft Zones” where concertgoers can be dropped off and picked up before and after a show. According to Lyft and AEG, the services will be available at the following venues and events:

1STBANK Center, Fiddler’s Green Amphitheatre, the Mission Ballroom and Global Dance Festival (Denver, CO), EXPRESS LIVE! and the Basement (Columbus, OH), Forest Hills Stadium (Queens, NY), The Joy Theater (New Orleans, LA), Shrine Auditorium & Expo Hall and Camp Flog Gnaw Carnival (Los Angeles, CA). The Theatre at Grand Prairie (Dallas-Fort Worth, TX), Stage AE (Pittsburgh, PA), Marymoor Park Concerts, The Showbox, The Showbox SoDo and Bumbershoot, an AEG Presents festival (Seattle, WA).

This isn’t the first time Lyft has gotten involved in getting people to major events. Last year, the company partnered with SeatGeek to drop people off at the venue entrance closest to their ticket. The deal with AEG mirrors a similar agreement Uber had with Live Nation in 2015.

All of this is, objectively, pretty neat.

But what matters is the experience of using it at a concert, and I have to say that despite my skepticism, I was pretty impressed. For one, there is absolutely zero latency. The audio was synced up perfectly the entire time, no matter where I was positioned in Barclays: Mid level directly opposite the stage, upper level to the side, down on the floor, even behind the stage, I encountered zero hiccups. I only ever lost signal when I wandered out into the halls to change locations. The mixer app is clean and functional, though it did crash on me in the middle of “Rocket Man,” forcing me to pair with the rX again, which can take some time.

Now, I’m not gonna lie: It was definitely weird to be wearing headphones at a concert. And I’m not sure I’d ever get used to it. But it wasn’t as isolating or strange as I feared. The earbuds Peex hands out are designed to let in a decent amount of ambient noise. You can in theory connect any wired headphones you want to the rX, but I’m not sure I’d recommend it. I brought two pairs of headphones with me — a pair of Sony MDR-7506 studio monitors and a set of Sennheiser CX300 II earbuds — but I ended up leaving them in my bag. The over-ear Sonys simply would have removed me too much from the concert atmosphere, and the Sennheiser buds wouldn’t have delivered a much different experience than the Peex pack-ins.

See, the balance of ambient noise and headphone audio is key to the success here. Directly opposite the stage, with the mixer tracks all set to about halfway, the effect of the Peex was subtle but noticeable. It was able to add some definition to the bass frequencies, which get muddy pretty quickly the further you are from the stage. (Not to mention that reflections off the walls and jumbotron only make things worse.) And it did so without making me feel like I was just listening to music on headphones — I still felt like I was seeing a live band.

The same was true in the cheap seats on the side of the stage. This is where I suffered through Television, the Unicorns, Dan Deacon and Arcade Fire (all bands that I love) five years ago. The sound at that show was what you might expect out of a middle school auditorium… if you were out in the hallway. Now, to be clear, the audio was much better at Elton John, even without the Peex. But it still helped clean up some of the reflections that are unavoidable when you’re right up against a concrete wall.

Things started to fall apart slightly when I got to the extreme ends of the spectrum. Behind the stage, where I was staring at the back of a giant video screen with no speakers facing me, the illusion was shattered. Here it was obvious that I was listening to music on headphones. As the quality of the sound in the arena got worse, the disparity with what was coming through the Peex became clearer. And suddenly it felt like I might as well be listening to a live album at home. To be fair, though, there were no seats behind the stage at the Elton John show, nor are there at most concerts. This was purely for demonstration purposes.

Down on the floor, it was a similar story. Having one of the best seats in the house means enjoying some of the best sound in the house too. Frankly here, there wasn’t much need for the Peex. And in a crowd of people dancing and singing along to “Saturday Night’s Alright for Fighting,” wearing headphones did feel a little isolating. (I’ll admit that I took them out here.)

There is still one big unanswered question right now, though, and that’s how much the Peex will cost to rent at a show. Whether or not it succeeds will depend on where the company lands with pricing. If it’s not any cheaper than simply springing for a better seat, then it’s hard to see a lot of people opting to rent headphones at a show. The company is going to have to figure it out soon. While the Peex is currently limited to VIPs and press, the company plans to start opening up to more people at more venues. (Though it was a little vague about when exactly.)

Perhaps its best chance of success, though, is with outdoor festivals. Anyone who has attended Rock the Bells or Bonnaroo can tell you that sound at these giant events is generally atrocious. And since often tickets are general admission, there isn’t the lure of buying a better seat to compete with.

It still might take you out of the moment to pop in a pair of earbuds while you’re jostling for position at Randall’s Island or Union Park. But if your number one priority at a concert is sound quality, then it might be worth the trade-off.