Lifestyle
‘E-bike for your feet’: How bionic sneakers could change human mobility
Chloe Veltman evaluates Nike’s Project Amplify system on a steep incline at the LeBron James Innovation Center in Beaverton, Ore., on Jan. 14. She says that after “getting over the surprise” of initially wearing the Project Amplify shoes, “it kind of feels like my feet are being pushed more aggressively forward.”
Gritchelle Fallesgon for NPR
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Gritchelle Fallesgon for NPR
The buildings at Nike’s world headquarters — the Philip H. Knight Campus in Beaverton, Ore. — are named after the likes of Serena Williams, Jerry Rice and Mia Hamm. But the company doesn’t recognize only sports superstars as athletes.
“If you have a body, you’re an athlete,” said Mike Yonker, who heads up the team developing Project Amplify — Nike’s new bionic sneaker.
Accordingly, the Project Amplify footwear system is aimed at a broad audience. “Amplify is designed for that everyday athlete to give them the energy they need to go further, to go faster, with greater levels of confidence,” said Yonker. “It’s like an e-bike for your feet.”
Even as some elite athletes are strapping skis and skates to their feet in an effort to move ever faster at this year’s Winter Olympics in Italy, Nike and other companies in the footwear and mobility sectors are on a quest to help humans move farther and faster in everyday life — using digital technology.
Nike said it plans to launch Project Amplify commercially in 2028. The system, tested in prototype form by NPR at the company’s headquarters, consists of fairly standard-looking sneakers with a carbon fiber plate running through the soles. These sneakers are attached at the back to close-fitting, 3D-printed titanium leg shells that cinch to the calves. The battery-powered contraptions, containing complex motors, sensors and circuitry, weigh a couple of pounds and look like something out of Terminator or RoboCop.
Nike’s Project Amplify prototypes are displayed from earliest to latest at the Nike Sport Research Lab in Beaverton, Ore., on Jan. 13.
Gritchelle Fallesgon for NPR
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Gritchelle Fallesgon for NPR
The latest iteration of Nike’s Project Amplify at the Nike Sport Research Lab.
Gritchelle Fallesgon for NPR
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Gritchelle Fallesgon for NPR
“What it’s doing is learning how your ankles are moving, how long your steps are, taking the algorithms and customizing them for you,” said Alison Sheets-Singer, Project Amplify’s lead scientist. “So that when it turns on, it feels natural and smooth.”
A phone app powers the footwear system on and off and can be used to toggle between various speed settings in “walk” and “run” mode. When activated, the leg shells pick up the heels and propel the feet purposefully forward.
A long quest for speed
Human beings have an innate desire to move faster on foot, whether for practical reasons or thrills and pleasure, said Elizabeth Semmelhack, director and senior curator of the Bata Shoe Museum in Toronto.
“The Nike Amplify comes from this long legacy of trying to increase speed and use science to help us get there,” Semmelhack said.
Semmelhack points to ice skates made of bone from the 1600s, 19th-century in-line roller skates and an iconoclastic pair of crescent-shaped, metal rocking-shoes patented in the early 20th century.
A 1600s bone skate, 19th-century in-line roller skates and a drawing of a patent for metal rocking-shoes from the early 20th century.
Bata Shoe Museum
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Bata Shoe Museum
Athletic-shoe manufacturers initially worked to increase the wearer’s speed in the 1970s by using lighter materials — switching out rubber and leather for nylon and foam. Electronics started appearing in sneakers in the 1980s. The Adidas Micropacer and Puma RS-Computer shoe used sensors to track a runner’s distance. Nike even came out with self-lacing high-tops a decade ago — the Nike Air Mag. The limited-edition product brought to life the futuristic sneakers featured in the 1989 movie Back to the Future Part II.
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But none of these innovations used digital technology to increase velocity, because of power constraints. “The energy needed to propel a human being forward is so significant that we do not have an energy source yet that is small enough that can be placed within a shoe,” Semmelhack said.
That’s why Nike and others working on electronic-assisted running and walking systems today, such as the Massachusetts-based startup Dephy — which collaborated with Nike on Project Amplify and also recently launched its own similar product, Sidekick — include ergonomic leg shells to power their products. Some of these systems avoid shoes entirely; for instance, the Ascentiz H+K takes the form of a motorized knee and hip exoskeleton. (According to Nike, Project Amplify is designed to have enough battery life, roughly, to enable the wearer to complete a 10-kilometer run. The batteries are rechargeable and can be switched out for a fresh set if the wearer wants to go for longer.)
Expanding mobility horizons
Despite the power challenges, the electronic-powered, motorized footwear space is a busy one. More than a dozen startups were exhibiting their innovations in the “bionic, footwear, exoskeleton” category at this year’s Consumer Electronics Show (CES) in Las Vegas, one of the world’s most prominent annual showcases for tech innovation. Many of these products are focused on helping people solve mobility issues, rather than necessarily aiding those who already walk and run with ease to do so faster.
“We’ve described a phenomenon called ‘personal range anxiety,’ where people are now making decisions about which activities they opt in and out of based on asking themselves, ‘Will I be comfortable? Will I be in pain? Will I be able to keep up with my friends and family?’” said Dephy co-founder and CEO Luke Mooney. “And so we’re helping them restore that confidence.”
Chloe Veltman walks outside wearing the Nike Amplify system at the Nike campus in Beaverton, Oregon.
Gritchelle Fallesgon for NPR
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Gritchelle Fallesgon for NPR
Some experts see a future where these footwear systems make a similar impact on walking and running as electronic bikes have made in recent years on mountain biking.
“E-bikes have changed the landscape of mountain biking for people that maybe didn’t have the ability or were getting older and still wanted to participate,” said Mark Oleson, a former Adidas executive who has worked on many innovation projects in the athletic shoe sector and who currently heads up the women’s volleyball footwear and apparel company Avoli. “There’s a huge opportunity where companies are asking, ‘How do we get someone into a sport or into a recreational activity that they normally wouldn’t have the ability to do?’”
Lifestyle
‘Alice and Steve’ might be a mess — but it’s also too fun to stop watching
In Alice and Steve, Jemaine Clement and Nicola Walker play long-time friends who turn on each other after he gets involved with her 26-year-old daughter.
Lara Cornell/Disney+
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Lara Cornell/Disney+
I grew up watching episodic shows on network TV, nearly all of them formulaic but some indelibly great. Then, like everyone else, I moved into the days of what my colleague David Bianculli dubbed Platinum TV, where series like The Sopranos and The Wire and Fleabag aspired to something higher. What both these eras had in common was that their shows were carefully crafted — they had an internal logic, and a tone, that held them together.
In recent years, though, there’s been a proliferation of shows that, possibly obeying some algorithm, care less for coherence than sensation. They lurch among tones, from cuteness to sentimentality to meanness, stirring in random plot twists along the way. Bouncing all over the emotional map, these shows depend on compelling actors and a few memorable scenes to make us overlook their loose construction.
A great example is Alice and Steve, an entertaining but sometimes exasperating six-part British comedy on Hulu about two 50-something best friends who turn on each other after he gets involved with her 26-year-old daughter.


While the premise is juicy, it’s also a tad yucky, and I mainly tuned in because its title characters are played by performers Jemaine Clement from Flight of the Conchords and Nicola Walker, whom I’ve raved up on this show more than once.
The series starts poorly with Steve and Alice going on a cutesy bender after a friend’s funeral. Now, I always hate drunk scenes, which are an invitation to overact. As Clement and Walker bray their lines, we learn that Steve’s a divorced celebrity hair stylist who can’t find a girlfriend while Alice is a clothes designer with a doting younger husband, nicely played by Joel Fry, a sweetie-pie of a teenage son — that’s Tyrese Eaton-Dyce — and, of course, that 26-year-old daughter, Izzy, who has inherited her mother’s willfulness. Played by Yali Topol Margalith, Izzy kickstarts the plot by flirting with Steve. Predictably, he succumbs.

Almost immediately, they think they’re in love. While the weak-willed Steve wants to hide their romance — he knows it’s inappropriate — Izzy just blurts out the facts to her mom. Alice flips. And from hereon out in this series where the women are as alpha as the men are hangdog, Alice drives the action. Betrayed and violently angry, she’ll do whatever it takes to break them up — no matter who gets hurt. Her antics unleash Steve’s own malice. We’re in Beef territory.
At its core, Alice and Steve hinges on the way that platonic friendships are often richer and more powerful than romantic ones. It’s a fascinating subject, which may be why I found the script by Sophie Goodhart so frustrating. I wanted her to dig deeper. While the show’s got some very funny bits — Alice’s sharp-tongued mother is a blast — it’s often annoyingly lax.

If Steve really does the hair of Charli XCX, how come he’s a clueless older guy whose pop culture references are Willie Nelson and Woody Allen? If Izzy truly adores her mother as she claims, why does she keep rubbing her relationship with Steve in her mom’s face? Halfway through, one character nukes the other’s career, but this life-shattering event has no real weight: It’s barely even mentioned for the rest of the series.
That said, Alice and Steve is worth seeing for scenes like the one in which Steve spinelessly sells Izzy out or the lacerating discussion between Alice and her husband when he fully grasps that he adores a woman who views him as a reliable but dull concierge, not a man she likes hanging with. Most touching of all may be the lovely sequence when Alice, wise for once, smooths a romantic crisis between her son and his would-be girlfriend, a pair who are the show’s emblem of hope. For once, we understand why people love her.

While most viewers will find Steve more likable than Alice — the show takes pains not to make him appear predatory or creepy — the role doesn’t give Clement a whole lot to do except play variations on shambolic dread and discomfort. The show gets its galvanizing zing from Walker, a beloved star in England with amazing, luminous eyes. Her Alice is the kind of complicated, volcanic heroine that you don’t see in movies and rarely see on TV, one who shows her apocalyptic rage freely and in many different forms.
At least once in every episode, something would lead me to say, “Man, is this show a mess.” But that wasn’t a deal breaker. I kept watching. After all, life is messy, too.

Lifestyle
How to enter your Sporty Spice era : It’s Been a Minute
How to enter your Sporty Spice era.
Getty Images/quantic69/Olga Kurbatova/Anastasiia Zvonary/Photo Illustration by NPR
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Getty Images/quantic69/Olga Kurbatova/Anastasiia Zvonary/Photo Illustration by NPR
Reality dating and professional sports are not as different as you’d think.
Brittany is in her Sporty Spice era – she watched the NBA playoffs, she’s following World Cup games, and she’s watching the New York Liberty play their WNBA season. These games are daily – and so is the reality dating show Love Island. And she noticed that the two formats are not very different at all. Defector.com staff writer and co-owner Kelsey McKinney came to the same conclusion – so the two of them discuss why these games of athleticism and love can bring us together… and why they get valued differently in our culture.
For more episodes on sports and reality TV, check out:
Get rich or die trying: how sports betting is changing our love of the game
Is this the end of reality TV?
The ugly truth of America’s expensive homes
Support Public Media. Join NPR Plus.
Follow Brittany on Instagram: @bmluse
This episode was produced by Liam McBain. It was edited by Neena Pathak. Our Supervising Producer is Cher Vincent. Our Executive Producer is Barton Girdwood. Our VP of Programming is Yolanda Sangweni.
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