Vladimir Putin has ordered Russia's government to explore the development of a series of homegrown consoles to compete with PlayStation and Xbox. Game Rant reports: Russia has taken issue with Western games and developers in recent years, leading the country to threaten the banning of certain titles like Apex Legends and The Last of Us Part 2. This is due to what the Russian government perceives as pro-LGBTQ messaging, which it openly opposes. In February, Russia's Organization for Developing the Video Game Industry (RVI) laid out a long-term plan that ended with the creation of a fully capable gaming console in 2026-2027. It seems that the Russian government may be attempting to follow through with this plan.

Following a meeting on the economic development of Kaliningrad, Putin requested government officials to research the requirements for domestic production of stationary and portable gaming consoles. The Russian president also ordered the planning of an appropriate operating system and cloud system for the consoles. The deadline for these plans is set for June 15, 2024, and Russia's prime minister was designated as the official overseeing these tasks. A Kremlin spokesperson confirmed that the orders intend to develop Russia's homegrown gaming industry.

An anonymous reader shares a report: According to the Ancient Greek philosopher Pythagoras, 'consonance' -- a pleasant-sounding combination of notes -- is produced by special relationships between simple numbers such as 3 and 4. More recently, scholars have tried to find psychological explanations, but these 'integer ratios' are still credited with making a chord sound beautiful, and deviation from them is thought to make music 'dissonant,' unpleasant sounding.

But researchers from the University of Cambridge, Princeton and the Max Planck Institute for Empirical Aesthetics, have now discovered two key ways in which Pythagoras was wrong. Their study, published in Nature Communications, shows that in normal listening contexts, we do not actually prefer chords to be perfectly in these mathematical ratios. "We prefer slight amounts of deviation. We like a little imperfection because this gives life to the sounds, and that is attractive to us," said co-author, Dr Peter Harrison, from Cambridge's Faculty of Music and Director of its Centre for Music and Science.

The researchers also found that the role played by these mathematical relationships disappears when you consider certain musical instruments that are less familiar to Western musicians, audiences and scholars. These instruments tend to be bells, gongs, types of xylophones and other kinds of pitched percussion instruments. In particular, they studied the 'bonang,' an instrument from the Javanese gamelan built from a collection of small gongs.

People bought 43 million vinyl records last year, according to the Recording Industry Association of America (RIAA). From a report: That's 6 million more than the number of CDs sold in 2023, marking the second time since 1987 that's happened and reflecting the steady 17-year-running growth of vinyl sales. Vinyl, which tends to be pricier than the newer format, also far outstripped CDs in actual money made, raking in $1.4 billion compared to $537 million from CDs. The RIAA's report shows that CD revenue was up, too, but in terms of physical products sold, people actually bought about 700,000 fewer CDs in 2023 than the year before. (If you're curious, nearly half a million cassettes sold last year, too, according to Billboard.)

AmiMoJo writes: In a major surprise, all twenty episodes of the second season of the animated series 'Star Trek: Prodigy' have suddenly been made available in France thanks to broadcaster France Televisions.

According to TrekCentral it seems France.TV, the online streaming service for the national public broadcaster, has released the entirety of the second season all at once and without any prior warning or announcement.

This has led to questions online as to how this happened. Paramount+ unexpectedly canceled the series in June last year -- even as a second season had almost finished production and was completed shortly after. It took numerous fan campaigns and social media protests but ultimately Netflix picked up both completed seasons in October 2023. The streamer has confirmed the twenty episode second season will arrive this year but hasn't set a specific date as yet.

Today's unexpected release in France has many wondering if this a mistake, or is this the result of a specific licensing deal with that country and distributor. Either way, spoilers for the new season are already flooding online along with a lot of people calling for fans to wait for the official release and support the creators.

Whether intentional or not, it's not clear if Netflix will shift its release strategy for the new season in the wake of this.

An anonymous reader quotes a report from NPR: Tennessee made history on Thursday, becoming the first U.S. state to sign off on legislation to protect musicians from unauthorized artificial intelligence impersonation. "Tennessee (sic) is the music capital of the world, & we're leading the nation with historic protections for TN artists & songwriters against emerging AI technology," Gov. Bill Lee announced on social media. The Ensuring Likeness Voice and Image Security Act, or ELVIS Act, is an updated version of the state's old right of publicity law. While the old law protected an artist's name, photograph or likeness, the new legislation includes AI-specific protections. Once the law takes effect on July 1, people will be prohibited from using AI to mimic an artist's voice without permission.

In 2019 Los Angeles film/TV producer Brian Morrison painted Blockbuster's logo onto an old newspaper box — and then filled it up with used DVDs. "The Free Blockbuster movement slowly gained traction," reports the New York Times — aided at times by social media — "and eventually more than 200 other community boxes had opened from Louisiana to Canada and even Britain."

Though it's not clear how many are still operational, a 37-year-old California opened a free "Blockbuster" library outside her home earlier this year, according to the article, "and stocks it with season-specific films, subversive books and free candy." "We are social animals; we want to go out into the world and engage with each other," said Brian Morrison, who keeps a lending library outside his home. He often refills it with DVDs and VHS tapes of TV series, horror movies and, on occasion, signed independent films, and said that it had encouraged interaction with his neighbors.

Andrew Kevin Walker, a Los Angeles-based screenwriter, said he had visited secondhand stores especially to seek out films to leave in the boxes, including two sealed James Bond box sets and a copy of "Cobra," a 1986 film written by Sylvester Stallone. "It's an opportunity for people to really share their love of cinema, whether it be their favorite guilty pleasure or their favorite movie of all time," he said.

Viewers with streaming fatigue say they are tired of chasing content that moves around an ever-expanding array of platforms or even disappears altogether, and some long for the physical media that was dominant until streaming took over. "I think it's great that folks are doing this, keeping the spirit of DVDs alive, circulating film[s] in and exchanging them," said Joe Pichirallo, a film producer and professor at New York University...

Alfonso Castillo, who co-founded a Free Blockbuster on Long Island, N.Y., with his son, said the lending library sees regular turnover with people both taking and dropping off movies, including older people. "My sense is that for them, it's less of this cool novelty sort of ironic thing and more like, finally, there's a place to get DVDs again," he said.
Award-winning filmmaker Ava DuVernay misses the commentary tracks on DVDs (along with director's cuts).

But more importantly, they told the Times that when it comes to art, "nothing beats holding it in your hand... It is a part of the experience of consuming and experiencing art."

"It was three years of my, life you?" a 93-year-old William Shatner tells the Guardian when asked about playing Captain Kirk on the original Star Trek series from 1967 to 1969: It gladdens him to see how much joy the series has brought its many fans, but the richest rewards came in his introduction to science fiction, which activated and nurtured a lifelong curiosity about our species. He reminisces about meeting the great writers of the genre fondly yet frankly, honest enough to sort Ray Bradbury into "the category right below friend, I think". He devoured their novels and developed a fascination with the principle of defamiliarization, that concepts taken for granted can be understood anew when viewed through the vantage of a stranger in a strange land. "Good science fiction is humanity, moved into a different milieu," he says.
Even on a grander scale, "The universe charms him with its mysteries," writes the Guardian, calling it "the key to maintaining wonder through nearly a century of life. He likes the not-knowing."

You can see this at play when the TV starship captain became a real-life spacefarer in 2021: Liberated by weightlessness, he found himself utterly transformed by the rush of perspective one can only assume miles above the Earth. "It's very personal, what you see from up there, what you read into the stillness," he says. "I saw the blankness of space as death, but an astronaut will see something else entirely. And when I looked back at the Earth, I saw life."

The question of mortality hangs over Shatner, albeit not in a morbid way. He's entranced by the paradox of death, that the absolute unknowability of what happens will be inevitably supplanted by the certainty of finding out... For a man accustomed to boldly going where no man has gone before, it's all just the next phase of a single ongoing adventure.
In fact, Shatner told Jimmy Kimmel Friday that he was always disappointed by the way he'd performed Captain Kirk's death. "I think you die the way you live," Shatner says. "So Captain Kirk always had these grotesque things happening... but without fear. But with joy, and love, and an opportunity to see what's better." So when performing Kirk's death, he'd imagined him actually gazing upon death itself — and looking upon it with wonder. "I ad libbed the 'Oh my'." Shatner's regret? That it "sounded fearful. And I didn't want to be fearful."

"Would you like a do-over?" Kimmel asks. (Adding "I've got some debris...") And Shatner agrees, performing — one more time — the death of Captain Kirk.

The video also includes an appropriate clip from a newly-released documentary about Shatner's life. "Don't do it half-heartedly," Shatner says at one point. "Whatever it is you do — do it fully. Do it passionately. Do it with your whole being."

It was March 24, 1999 that The Matrix premiered, premembers the Wall Street Journal. "To rewatch The Matrix is to be reminded of how primitive our technology was just 25 years ago. We see computers with bulky screens, cellphones with keypads and a once-ubiquitous feature of our society known as 'pay phones,' central to the plot of the film."

But the article's headline warns that "25 Years Later, We're All Trapped in 'The Matrix'". [I]n a strange way, the film has become more relevant today than it was in 1999. With the rise of the smartphone and social media, genuine human interaction has dropped precipitously. Today many people, like Cypher, would rather spend their time in the imaginary realms offered by technology than engage in a genuine relationship with other human beings.

In the film, one of the representatives of the AI, the villainous Agent Smith, played by Hugo Weaving, tells Morpheus that the false reality of the Matrix is set in 1999 because that year was "the peak of your civilization. I say your civilization, because as soon as we started thinking for you it really became our civilization." Indeed, not long after "The Matrix" premiered, humanity hooked itself up to a matrix of its own. There is no denying that our lives have become better in many ways thanks to the internet and smartphones. But the epidemic of loneliness and depression that has swept society reveals that many of us are now walled off from one another in vats of our own making...

For today's dwellers in the digital cave, the path back into the light doesn't involve taking a pill, as in "The Matrix," or being rescued by a philosopher. We ourselves have the power to resist the extremes of the digital world, even as we remain linked to it. You can find hints of an unplugged "Zion" in the Sabbath tables of observant Jews, where electronic devices are forbidden, and in university seminars where laptops are banned so that students can engage with a text and each other.

Twenty-five years ago, "The Matrix" offered us a modern twist on Plato's cave. Today we are once again asking what it will take to find our way out of the lonely darkness, into the brilliance of other human souls in the real world.

"My favorite kind of science fiction involves stories rooted in real science..." writes NPR's reviewer. "[T]here is something special about seeing characters wrestle with concepts closer to our current understanding of how the universe works."

The Verge calls it an "impressive" and "leaner" story than the book, arguing "it's a good one — and very occasionally a great one" that introduces the author's key ideas, though channelling "the book's spirit but not its brilliance."

And Slate calls it a "downright transformative" adaptation, "jettisoning most of the novel's characters and plucking scenes from all three books," while accusing it of "making the trilogy's expansive and philosophical story into something much more pedestrian and digestible."

But Reuters notes there's huge interest in China over this adaptation (by the co-creator of Mem>Game of Thrones) for the first Asian novel to win the Hugo Award for best science fiction novel. "The new series was trending on Chinese social media platform Weibo on Friday," reports Reuters, "with 21 million views so far." (The show came in first on Weibo's "top hot" trend rankings, they add, "despite Netflix being officially inaccessible in China. Chinese viewers would have had to watch the Netflix series from behind a VPN or on a pirate site.")

So what was their verdict? CNN reports Netflix's adaptation "has split opinions in China and sparked online nationalist anger over scenes depicting a violent and tumultuous period in the country's modern history." Among the country's more patriotic internet users, discussions on the adaptation turned political, with some accusing the big-budget American production of making China look bad. The show opens with a harrowing scene depicting Mao Zedong's Cultural Revolution, which consumed China in bloodshed and chaos for a decade from 1966... "Netflix you don't understand 'The Three Body Problem' or Ye Wenjie at all!" read a comment on social media platform Weibo. "You only understand political correctness!"

Others came to the show's defense, saying the scene closely follows depictions in the book — and is a truthful reenactment of history. "History is far more absurd than a TV series, but you guys pretend not to see it," read one comment on Douban, a popular site for reviewing movies, books and music.

Author Liu said in an interview with the New York Times in 2019 that he had originally wanted to open the book with scenes from Mao's Cultural Revolution, but his Chinese publisher worried they would never make it past government censors and buried them in the middle of the narrative. The English version of the book, translated by Ken Liu, put the scenes at the novel's beginning, with the author's blessing... Various other aspects of the show, from its casting and visual effects to the radical changes to the story's original setting and characters, also attracted the ire of Chinese social media users. Many compared it to a Chinese television adaptation released last year — a much lengthier and closer retelling of the book that ran to 30 episodes and was highly rated on Chinese review platforms.

The Netflix adaptation featured an international cast and placed much of the action in present-day London — thus making the story a lot less Chinese.

Streamers narrowly avoided getting shut out at the 2024 Oscars: Netflix came away with just one trophy and Apple left empty-handed, after they garnered a total of 32 nominations. From a report: Netflix collected its one win for Wes Anderson's "The Wonderful Story of Henry Sugar," an adaptation of a Roald Dahl story, in the live action short film category. The 40-minute film, with a cast that includes Benedict Cumberbatch, Dev Patel, Ben Kingsley, and Ralph Fiennes, is the first Oscar for Anderson (who wasn't in attendance to receive the award). Heading into Sunday's 96th Academy Awards, Netflix led all studios and platforms with 19 nominations across 11 films, including seven for Bradley Cooper's "Maestro" -- which was shut out. Apple had picked up 13 nods, including 10 for Martin Scorsese's "Killers of the Flower Moon," which also drew a goose egg.

Since 2017, Netflix has now won 23 Oscars in all. But the best picture prize continues to elude the streamer as "Maestro" lost out to this year's awards powerhouse, "Oppenheimer." Nor has Netflix won in the lead actor or actress categories, coming up empty this year after four noms (Cooper and Carey Mulligan for "Maestro"; Colman Domingo for "Rustin"; and Annette Bening for "Nyad"). "Killers of the Flower Moon's" nominations included one for Scorsese in the best director category. His only Oscar to date came in 2007 for "The Departed" (for director). In 2020, his mafioso pic "The Irishman" for Netflix was shut out at the Oscars after receiving 10 nominations.

Longtime Slashdot reader AmiMoJo shares a report from The Guardian: Akira Toriyama, the influential Japanese manga artist who created the Dragon Ball series, has died at the age of 68. He died on March 1 from an acute subdural haematoma. The news was confirmed by Bird Studio, the manga company that Toriyama founded in 1983.

"It's our deep regret that he still had several works in the middle of creation with great enthusiasm," the studio wrote in a statement. "Also, he would have many more things to achieve." The studio remembered his "unique world of creation". "He has left many manga titles and works of art to this world," the statement read. "Thanks to the support of so many people around the world, he has been able to continue his creative activities for over 45 years." [...]

Based on an earlier work titled Dragon Boy, Dragon Ball was serialized in 519 chapters in Weekly Shonen Jump from 1984 to 1995 and birthed a blockbuster franchise including an English-language comic book series, five distinct television adaptation -- with Dragon Ball Z the most familiar to western audiences -- and spin-offs, over 20 different films and a vast array of video games. The series -- a kung fu take on the shonen (or young adult) manga genre -- drew from Chinese and Hong Kong action films as well as Japanese folklore. It introduced audiences to the now-instantly familiar Son Goku -- a young martial arts trainee searching for seven magical orbs that will summon a mystical dragon -- as well as his ragtag gang of allies and enemies. You can learn more about Toriyama via the Dragon Ball Wiki.

The Associated Press, Washington Post, and New York Times, among others, have all reported on his passing.

Samsung's 2024 OLED TV lineup will feature both QD-OLED and WOLED panels, making it harder for consumers to distinguish between the two technologies. The company announced three new series without specifying the panel types, but reports suggest that even within the S90D series, both QD-OLED and WOLED may be used. Samsung's decision to use both panel types is attributed to LG Display's request not to position WOLED as inferior to QD-OLED.

Nikon, in a press statement: Nikon hereby announces its entry into an agreement to acquire 100% of the outstanding membership interests of RED.com, LLC (RED) whereby RED will become a wholly-owned subsidiary of Nikon, pursuant to a Membership Interest Purchase Agreement with Mr. James Jannard, its founder, and Mr. Jarred Land, its current President, subject to the satisfaction of certain closing conditions thereunder.

Since its establishment in 2005, RED has been at the forefront of digital cinema cameras, introducing industry-defining products such as the original RED ONE 4K to the cutting-edge V-RAPTOR [X] with its proprietary RAW compression technology. RED's contributions to the film industry have not only earned it an Academy Award but have also made it the camera of choice for numerous Hollywood productions, celebrated by directors and cinematographers worldwide for its commitment to innovation and image quality optimized for the highest levels of filmmaking and video production.

This agreement was reached as a result of the mutual desires of Nikon and RED to meet the customers' needs and offer exceptional user experiences that exceed expectations, merging the strengths of both companies. Nikon's expertise in product development, exceptional reliability, and know-how in image processing, as well as optical technology and user interface along with RED's knowledge in cinema cameras, including unique image compression technology and color science, will enable the development of distinctive products in the professional digital cinema camera market.

Warner Bros. Discovery said a password crackdown for its Max streaming service is coming later this year, joining competitors Netflix and Disney. TheWrap reports: JB Perrette, WBD's CEO and president of global streaming and games, said the initiative would launch later this year with a broader rollout in 2025. "We think, relative to the scale of our business, it's a meaningful opportunity," Perrette said during Morgan Stanley's 2024 Technology, Media & Telecom Conference in San Francisco on Monday. The push to crack down on password sharing comes as Warner Bros. Discovery narrowed its streaming loss to $55 million during its fourth quarter of 2023, down from a loss of $217 million a year ago. For the full year, it swung to a profit of $103 million, compared to a loss of $1.59 billion in 2022.

Looking ahead, WBD said its DTC business would have "modestly negative" EBITDA in the first half of 2024 before turning profitable in the second half. WBD is targeting $1 billion of direct-to-consumer EBITDA in 2025. In its fourth quarter, Warner Bros. Discovery added 1.8 million subscribers in its direct-to-consumer division for a total of 97.7 million. The DTC segment's results include Max, Discovery+ and traditional HBO cable subscriptions. Parrette also discussed interest in transactional ads, notes Ars Technica. Per Perrette: "On the ad format size, we've made lots of improvements from where we were, but we still have a lot of ad format enhancements that will give us more things that we can go to marketers with, [like] shoppable ads [and] other elements of the ad format side of the house that we can improve."

Piracy was traditionally seen as something that predominantly young males were interested in. This is a largely outdated representation of reality, as girls and women began to catch up a long time ago. In some countries, including Indonesia, more women pirate music, movies, and TV-shows than their male counterparts. TorrentFreak reports: [N]ew findings published by researchers from Northumbria University Newcastle, which include gender, are worth highlighting. The survey data, looking at piracy trends in Thailand and Indonesia, was released by Marketing professor Dr. Xuemei Bian and Ms. Humaira Farid. The results were presented to WIPO's Advisory Committee on Enforcement recently and the associated presentation (PDF) was published online. Through an online survey and in-person interviews, the research aims to map consumer attitudes and behaviors in Indonesia and Thailand, particularly in connection with online copyright infringement.

One of the overall conclusions is that piracy remains a common activity in both Asian countries. Pirates are present in all age groups but and music, movies en TV-shows tend to be in highest demand and younger people. Those under 40, are more likely to pirate than their older counterparts. These findings are not out of the ordinary and the same trends are visible in other countries too. Interestingly, however, some notable differences between the two countries appear when gender is added to the mix. The tables below show that women are more likely to pirate than men in Indonesia. This is true for all content categories, except for software, where men are slightly in the lead. In Thailand, however, men are more likely to pirate across all categories. The researchers do not attempt to explain these differences. However, they show once again that 'dated' gender stereotypes don't always match with reality. And when they have little explanatory value, one can question whether gender is even relevant in a piracy context.

Looking at other differences between Thai and Indonesian consumers there are some other notable findings. For example, in Indonesia, 64% of the respondents say they're aware of the availability of pirated movies and TV-shows on YouTube, compared to 'just' 32% in Thailand. Indonesian consumers are also more familiar with music piracy sites and pirate much more frequently than Thai consumers, as the table below shows. Finally, the researchers also looked at various attitudes toward piracy. This shows that Thai pirates would be most likely to stop if legal services were more convenient, while Indonesian pirates see cheaper legal services as the largest discouraging factor.

ZipK writes: Cord Cutters New reports that Roku has rolled out new terms of service that require users to accept individual arbitration. To gain acceptance, Roku devices pop up a dialog box that can only be dismissed if you accept the new terms or turn off your Roku and stop using it. As expected, much discussion has ensued in the Roku community.

Per the Roku Dispute Resolution Terms, users can opt out within 30 days of being subject to the new terms by sending a surface mail request to General Counsel, Roku Inc., 1701 Junction Court, Suite 100, San Jose, CA 95112. One poster in the community forum noted that the effective date of the change was Feb 20th, which may shorten the 30 day period for opting out. Longtime Slashdot reader blastard also shared the news.

"The Mandalorian & Grogu and Daisy Ridley's untitled Star Wars movie have received working titles ahead of their respective production starts," reports CBR: According to The Cosmic Circus, The Mandalorian and Grogu will be filmed under the working title "Thunder Alley", while Ridley's Star Wars movie will be known as "New Jedi Order..." The Mandalorian & Grogu will be the first Star Wars movie to enter production since 2019's The Rise of Skywalker, the ninth and final installment in The Skywalker Saga...

[In Ridley's untitled Star Wars movie], Ridley will reprise her role from the Star Wars sequel trilogy as Rey, with the new movie set to follow the fan-favorite Jedi as she rebuilds the Jedi Order roughly 15 years after the events of The Rise of Skywalker... Other Star Wars movies in the works include James Mangold's upcoming feature about the origins of The Force, set during the Dawn of the Jedi era; and Dave Filoni's feature-length film set in the New Republic era that will conclude post-Return of the Jedi storylines that began in The Mandalorian, The Book of Boba Fett, Ahsoka and the upcoming Skeleton Crew.
"California's Film Commission announced in a news release Monday that Lucasfilm's upcoming feature film The Mandalorian & Grogu will be produced entirely in the state," reports the Press Democrat, "one of 15 movie productions coming to fruition thanks to California's Film and TV Tax Credit Program." Based on the popular Disney+ series and directed by "The Mandalorian" creator Jon Favreau, "The Mandalorian & Grogu" is set to be the first film in the franchise's 46-year history to be shot entirely in the state and the biggest blockbuster in the history of the commission's tax credit program, bringing approximately $166 million to the state's economy through wages and expenditures, the release said. According to The Hollywood Reporter, the film will get $21.8 million in tax credits.

The Mandalorian & Grogu, which is due to begin filming later this year and is currently expected to be released sometime in 2026, will continue the story of the titular lone bounty hunter and his alien baby companion that began in the three-season series, Lucasfilm announced last month.

The desert planet Arrakis in Frank Herbert's science fiction novel Dune is plausible, says Alexander Farnsworth, a climate modeler at the University of Bristol in England. According to Science News, the world would be a harsh place for humans to live, and they probably wouldn't have to worry about getting eaten by extraterrestrial helminths. From the report: For their Arrakis climate simulation, which you can explore at the website Climate Archive, Farnsworth and colleagues started with the well-known physics that drive weather and climate on Earth. Using our planet as a starting point makes sense, Farnsworth says, partly because Herbert drew inspiration for Arrakis from "some sort of semi-science of looking at dune systems on the Earth itself." The team then added nuggets of information about the planet from details in Herbert's novels and in the Dune Encyclopedia. According to that intel, the fictional planet's atmosphere is similar to Earth's with a couple of notable differences. Arrakis has less carbon dioxide in the atmosphere than Earth -- about 350 parts per million on the desert planet compared with 417 parts per million on Earth. But Dune has far more ozone in its lower atmosphere: 0.5 percent of the gases in the atmosphere compared to Earth's 0.000001 percent.

All that extra ozone is crucial for understanding the planet. Ozone is a powerful greenhouse gas, about 65 times as potent at warming the atmosphere as carbon dioxide is, when measured over a 20-year period. "Arrakis would certainly have a much warmer atmosphere, even though it has less CO2 than Earth today," Farnsworth says. In addition to warming the planet, so much ozone in the lower atmosphere could be bad news. "For humans, that would be incredibly toxic, I think, almost fatal if you were to live under such conditions," Farnsworth says. People on Arrakis would probably have to rely on technology to scrub ozone from the air. Of course, ozone in the upper atmosphere could help shield Arrakis from harmful radiation from its star, Canopus. (Canopus is a real star also known as Alpha Carinae. It's visible in the Southern Hemisphere and is the second brightest star in the sky. Unfortunately for Dune fans, it isn't known to have planets.) If Arrakis were real, it would be located about as far from Canopus as Pluto is from the sun, Farnsworth says. But Canopus is a large white star calculated to be about 7,200 degrees Celsius. "That's significantly hotter than the sun," which runs about 2,000 degrees cooler, Farnsworth says. But "there's a lot of supposition and assumptions they made in here, and whether those are accurate numbers or not, I can't say."

The climate simulation revealed that Arrakis probably wouldn't be exactly as Herbert described it. For instance, in one throwaway line, the author described polar ice caps receding in the summer heat. But Farnsworth and colleagues say it would be far too hot at the poles, about 70Â C during the summer, for ice caps to exist at all. Plus, there would be too little precipitation to replenish the ice in the winter. High clouds and other processes would warm the atmosphere at the poles and keep it warmer than lower latitudes, especially in the summertime. Although Herbert's novels have people living in the midlatitudes and close to the poles, the extreme summer heat and bone-chilling -40C to -75C temperatures in the winters would make those regions nearly unlivable without technology, Farnsworth says. Temperatures in Arrakis' tropical latitudes would be relatively more pleasant at 45C in the warmest months and about 15C in colder months. On Earth, high humidity in the tropics makes it far warmer than at the poles. But on Arrakis, "most of the atmospheric moisture was essentially removed from the tropics," making even the scorching summers more tolerable. The poles are where clouds and the paltry amount of moisture gather and heat the atmosphere. But the tropics on Arrakis pose their own challenges. Hurricane force winds would regularly sandblast inhabitants and build dunes up to 250 meters tall, the researchers calculate. It doesn't mean people couldn't live on Arrakis, just that they'd need technology and lots of off-world support to bring in food and water, Farnsworth says. "I'd say it's a very livable world, just a very inhospitable world."

Adobe has announced a new prototype tool called Project Music GenAI Control that allows users to create original music by inputting text prompts, then edit the audio without switching to separate software. Users can specify musical styles in their prompts to produce tracks like "happy dance" or "sad jazz."

Adobe says integrated editing controls let users tweak patterns, tempo, intensity and structure of the AI-generated music. Sections can be remixed and looped as backing tracks or background music. The tool can also adjust audio "based on a reference melody" and extend clip length for set animations or podcasts. Details on editing interface and upload options for custom reference tracks are unclear.

Streaming revenue will overtake pay TV subscription revenue in the U.S. for the first time later in 2024, helped by the addition of ad tiers by various streamers, according to a new forecast. From a report: Total revenues from streaming, including subscription and advertising revenue, will start topping revenue from pay TV subscriptions in the third quarter of 2024, research company Ampere Analysis projects in a new study unveiled on Monday. "Streaming will continue to race ahead as traditional pay TV declines -- with the value of pay TV in 2028 expected to fall to half the value it saw at its peak in 2017," it predicts. Streaming subscribers overtook pay TV subs in the U.S. in 2016, but "streaming's lower average revenue per user (ARPU), which currently sits at around a tenth that of pay TV, means that revenue is only now catching up," Ampere explained. U.S. pay TV revenue will still be narrowly ahead of streaming revenue in the second quarter at $17.1 billion to $17 billion, followed by a $17.3 billion to $16.7 billion streaming lead in the third quarter, according to the research firm's projections.