Axios reports: Some of the world's largest music publishers filed a blockbuster lawsuit against Anthropic late Friday night, alleging "one of the largest and most blatant ongoing thefts of intellectual property in history."

The suit is the opening salvo in what is now likely to be a yearslong fight over music, AI, and how intellectual property is protected in a new era of technology... The Sony/Warner lawsuit is notable because it's broad. It alleges Anthropic unlawfully trained its models off "tens of thousands" of music publishers' copyrighted compositions, whereas other lawsuits have focused on a narrower set of works. BMG's lawsuit against Anthropic, for example, claims infringement against 493 compositions.

What they're saying: "Defendants Anthropic and its founders Dario Amodei and Benjamin Mann have conducted a brazen campaign of illegally torrenting, scraping, and downloading copyrighted works on a massive scale in order to develop, operate, and reap enormous profits from Anthropic's 'Claude' series of artificial intelligence ('AI') models," the plaintiffs write in the 48-page complaint. They also claim that Anthropic pirated thousands of copyrighted musical works...
More details from The Verge: The companies are asking for up to $150,000 per work, plus up to $25,000 for each instance when identifiable copyright data was stripped. In total, the damages could amount to several billion dollars if a court finds in Sony and Warner's favor and awards the maximum amount...

The suit alleges that Mann used BitTorrent to download over five million pirated books, and that employees downloaded at least two million more from Pirate Library Mirror. It also claims that Anthropic scraped lyrics from sites like MusixMatch and LyricFind, which paid to license content from the labels.

The Los Angeles Times first calls Ridley Scott's newest movie "a postapocalyptic thriller that trades zombies for pandemics and asks whether hope can outlast catastrophe." But besides The Dog Stars, Scott is also working on an adaptation of Robert Louis Stevenson's "Treasure Island" starring Hugh Jackman, and is thinking about turning one of his past films into a musical. ("I can't tell you which one because they're being difficult.") The common theme, they suggest, is a director who allows his stories to "speak through evocative, immersive images rather than unnecessary exposition." The British director says it's because he got his start in advertising after attending the Royal College of Art in London. After 1982's neon-coated sci-fi thriller "Blade Runner," Scott notably made the iconic Apple Macintosh computer ad "1984," a memorable Orwellian-themed clip that contained suggestions of the dystopias that would continue to fascinate Scott in his filmmaking. "Advertising in England at that point became a competitive art form," he says, pointing to the notorious "Adland Five," a group of directors that included Hugh Hudson, Adrian Lyne, Alan Parker, Scott and his brother Tony. "I've got a show reel which is 50 years old which would entertain the s — out you. Hasn't aged at all. Our visual drive changed the face of how films looked."

That's apparent in Scott's latest, "The Dog Stars" (in theaters Friday), a film about survival after the end of the world. It's based on Peter Heller's 2012 novel and set in Colorado 10 years in the future after an aggressive flu has decimated much of the population. Those remaining alive use any means necessary to stay that way, resulting in instability, brutality and, more hopefully, connection... These days, Scott develops movies with his production company, Scott Free, which he founded with his late brother Tony in 1995. Before that he says he struggled to find good scripts. And rarely has someone handed one to him. "I've only ever had three films land on my desk," he says. "One was 'Alien,' which I was fifth choice for after Robert Altman." He makes a face. "Can you imagine offering Robert Altman 'Alien'? How stupid can you get?"

Another was 2015 space adventure "The Martian," which Scott says had been sitting on a shelf for two years before it was sent to him. Scott's grounded, semi-comedic take on Andy Weir's novel resulted in seven Oscar nominations. The third screenplay to materialize was "The Dog Stars." "I read it and I was blown away," Scott says.
Deadline notes that Scott is already re-writing the third prequel to Alien, citing Scott's comments to French outlet AlloCiné. "The one that just came out [2024's Alien: Romulus] was OK. I think it needs some help. So, I've gone back in." Scott continued, "I've already got a footprint for the next Alien.... I'm picking up where we left off in Covenant with Micheal Fassbender, who now thinks he's Ozymandius." With the sequel bringing back Fassbender's futuristic AI droid, Scott sees an opportunity to explore the repercussions of artificial intelligence in our current world. "I like the fact that AI has gone off the rails," said Scott of where the character is at the end of Covenant. "If we go AI, the moment we discover it's off the rails is too late. It could switch every digital thing off in the world like that. You'd have fucking chaos. It's that kind of stuff that's scary."
Scott tells the Los Angeles Times that the malfunctioning AI character fascinates him, and in the movie will be creating a "brave new world for himself... AIs can go off. And if they do, it's like a bomb..." So far, Scott says he hasn't implemented AI technologies into his filmmaking. He holds up his "Treasure Island" Ridleygrams [hand-drawn storyboards] and shakes them at the camera. "I can compete with an AI without any problem making images," he says. "But it's coming, inevitably."

Scott was not involved in the forthcoming Prime Video series "Blade Runner 2099," out in November. "I can't blame my lawyers and my agents at that time, but somehow we let 'Blade Runner' go," he says. "And when you're not the author of the actual written word, you don't have a piece." (He was more involved in Noah Hawley's recent "Alien: Earth" series, which he calls "pretty damn good....")

Does that mean he thinks about his legacy as a filmmaker? He does, but not often. "When you think of your legacy, you're too near the end," Scott says. "I'm not near the end." He looks up from his drawings. "I've had a riotous time," he says. He corrects himself: "I'm having a riotous time."

Australia's official music charts will no longer accept songs that are largely or entirely AI-generated, requiring eligible releases to be "substantially human made." The BBC reports: The Australian Recording Industry Association (ARIA) said the new code would help "promote the human nature of artistry." It follows a controversy around a cover of Madonna's Like A Prayer by Australian DJ Josh Fawaz which recently topped the ARIA dance singles chart and peaked at number 2 on the country's overall chart. The song has become a staple of commercial radio station playlists and been streamed more than 48 million times on Spotify alone. Fawaz later added generative AI credits to the song after a backlash.

ARIA said that Australian artists were competing for attention "in the most crowded market in history" and that it was "not interested in promoting or celebrating the success of AI-generated music that does not contain human artistry." Under the new rules, AI assistance can still be used, but humans must have written the song, and have performed the lead vocal and primary instruments. AI can also still be used for mastering songs and, for example, using drum machines and auto tune. [...]

Artists will be required to declare AI use when they submit a song for chart consideration. ARIA said that if it later emerged music was largely AI-generated it could retrospectively adjust chart positions, and if the piece topped the charts, it may request that awards given for reaching Number One were returned. Artists and their representatives will be able to challenge their exclusion. ARIA chief executive Annabelle Herd said: "These changes reflect our intent to remain dynamic and promote the human nature of artistry in what is, to say the least, a rapidly developing space. Artists already use AI tools in their work, the charts can and should evolve to keep room for that, but music generated wholesale by services built on artists' recordings is a different matter."

She added: "A chart that rewards unlicensed AI output would undercut the very basis of the recorded music we exist to represent."

Apple is raising Apple TV's U.S. price to $14.99 per month, up from $12.99, while the annual plan jumps from $99 to $119. It's the service's fourth price hike in four years and means the monthly cost has now tripled from its $4.99 launch price in 2019. Apple One's Individual plan is also rising from $19.95 to $21.95 per month.

An anonymous reader quotes a report from Gizmodo: Dr. Dre, the pioneering rapper and seven-time Grammy-winning producer behind hit songs like Tupac's "California Love" and Eminem's "The Real Slim Shady," is very much pro using artificial intelligence tools to make music. In an interview with the New York Times, Dr. Dre and Interscope Records co-founder Jimmy Iovine spoke about artificial intelligence's recent foray into music production, with the producer characterizing those who oppose AI song generation tools as "afraid of learning new things." "I don't see it as a threat. I think the only people that see it as a threat are the people who have trouble creating," Dr. Dre said. "I had a discussion with a few people a few days ago. They were against AI, and I'm like, 'OK, you sound like the person that would have been against the drum machine when it came out.' Or synthesizers, right?"

[...] Iovine, the music executive and Dr. Dre's partner in Beats by Dre, for his part, says he doesn't "see the downside at all." "There will be some crappy music. There's crappy music now," Iovine told the NYT. "In the studio, when gifted people have AI, they're going to make better records." Dr. Dre said he uses AI in producing "as a tool to see what it would do with what I just did." The award-winning producer also said he is definitely not alone among his peers in his stance on AI either: many producers use AI but fear to admit it. Iovine calls them "closet AI producers," and says Timbaland, the four-time Grammy-winning singer-producer behind a long list of hits like "Promiscuous" with Nelly Furtado, is also one.

A man dressed as Darth Vader used a Public Safety and Livable Neighborhoods Committee meeting in San Diego to mock the city's use of Flock surveillance cameras, sarcastically arguing that the technology would help the "emperor" track "rebel scum" and find Luke Skywalker. "This is what the emperor needs. This technology will help us find the rebel scum and the hidden base on Hoth," he said. The Hill reports: He urged that the cameras be used to surveil any "rebel scum as they move from playground to playground, from playground to pool, from pool to gymnasium, because we all know that the Flock cameras are not only following the license plate readers, they are following children." The plea for the cameras shifted to raising taxes to clear out storm drains and to the clearing of homeless encampments in the city. The man said the council members can use "doublespeak" to say the police department is humanitarian.

"And how will the people trust this City Council when this City Council continues to vote for surveillance technology that imprisons them? Ms. Campbell, you must work on your Jedi mind tricks," he said, addressing City Council member Jennifer Campbell, before waving his hand to the audience. "Do it like this." His last plea was for the Flock cameras to be used to "help us find Luke Skywalker as he traverses the universe in his X-wing." "This technology is a necessary, necessary force," he concluded. According to DeFlock, San Diego has more than 550 Flock cameras across the city.

Independent music publisher Round Hill is suing Suno and Anthropic for allegedly using hundreds of copyrighted songs without permission to train their AI systems. The company says potential damages could exceed $1 billion, arguing there is "nothing fair" about building multibillion-dollar AI businesses on copyrighted material while rights holders receive nothing. From The Hollywood Reporter: Round Hill is a prominent music publisher whose copyrights include the Goo Goo Dolls' "Iris," Bonnie Tyler's "Total Eclipse of the Heart," the Kinks' "Lola" and Dio's "Holy Diver." The company provided a list of 500 songs that the defendants had infringed upon. Round Hill said in the suits that the company plans to "amend to list potentially ten thousand or more of their musical compositions," with those damages potentially exceeding $1 billion. "While in other cases for copyright infringement, Defendant has waxed poetic about the necessity of progress and AI's value to society, there is simply no reason -- other than rote expediency -- to have that progress come at the cost of copyrights holders," prominent music attorney Richard Busch, representing Round Hill, wrote in the suits.

Round Hill further argued that the latter "'expediency' arguments completely falter" when taking into account Suno and Anthropic's significant cash valuations they've earned while "exploiting illicit copies of copyrighted works, including the Round Hill Works." "There is simply nothing fair about a company using theft to build for purely commercial purposes a multi-billion dollar business while those from which they steal receive nothing," Round Hill said. Suno also faces a lawsuit from Universal Music Group and Sony Music Group.

An anonymous reader quotes a report from The Guardian: The release of a new album by Taylor Swift might be a cause for celebration among her fans, but such events have also been linked to a more sombre phenomenon: an increase in fatal car crashes. The team behind a new study say it sheds light on the impact of distracted driving. Writing in the journal Jama Network Open, [Vishal Patel, first author of the study based at Harvard Medical School] and colleagues report how they focused on the release of 10 major albums, launched between 2017 and 2022, selected for having the highest number of Spotify streams over a single day. [...] The team found streaming volume for the top 200 songs in the US was 43% higher on the date of major album releases compared with the days surrounding the releases -- although such data does not reveal whether the music was being streamed in a car.

[...] The researchers used data from a population-based registry of fatal US motor vehicle crashes to look at the number of traffic fatalities on the dates these albums were released, as well as for the 10 days either side. After taking into account the day of the week upon which the album was released, as well as federal holidays, and time of year, the researchers found the number of US traffic fatalities showed a relative increase of 15.1% on the date of major album releases, compared with similar days either side. "This is equivalent to approximately 182 fatalities in the US attributable to the release days of the 10 included albums," the team writes.

Patel said the release of a new album could distract drivers because accessing music is a search task, not a single button press. "You unlock the phone, open the app, find the release, read down a tracklist, tap the right song. That's several seconds of looking at a screen," he said, adding unfamiliar music also demands more attention, while research has suggested listening to new, high-energy music measurably degrades driving performance. The researchers add the rise in traffic fatalities was greater among certain groups -- such as younger drivers, male drivers, people who were driving alone, and people driving cars with a built-in infotainment platform. The authors say the results suggest that "online music streaming through smartphones may significantly contribute to distracted driving and traffic fatalities."

Saturday Disneyland announced a special Star Wars-themed collaboration with third-person shooter game Fortnite — including a slick new trailer for its Star Wars: Smuggler's Gambit quest.

Visitors to Disneyland's Smuggler's Run attraction at Disney's theme parks in Orlando and in Anaheim can accept a special mission while waiting in line for the ride, according to The Hollywood Reporter. And "If they succeed, they will get a unique Forsworn Trooper Outfit in a newly-created Fortnite adventure called Smugglers Gambit set in that same universe." "Millennium Falcon: Smugglers Run | Fortnite marks the first time this attraction has reached beyond its physical walls into a connected game world — a story that starts in a queue in Orlando or Anaheim can now continue on a screen almost anywhere," said Sean Shoptaw, executive VP of Disney Games and Digital Entertainment.... "Together these experiences reflect our ambition to connect stories and worlds across formats into one converged entertainment ecosystem...."

The cockpit technology in the ride was actually created using Epic's Unreal Engine, which allows for many assets from the ride to appear in Smugglers Gambit.... "Whether you're at a Disney Park or playing Fortnite with your friends, fans have new ways to keep their Star Wars adventures going," [said Adam Sussman, president of Epic Games]. "This is only the beginning of what's possible when world-class storytellers bring their creativity into Fortnite." Disney, of course, is an investor in Epic Games, and the two companies have been at work building a new world that will connect to Fortnite with all of the Disney's beloved characters... This new collaboration, however, extends to the real world for the first time, bringing some video game magic to Disney's parks, and some of that theme park magic to the video game.
Disneyland will also launch a new area based on James Cameron's Avatar: The Way of Water, reports The Orange County Register — which even has a picture of the Avatar Destination ride's model, showing an enormous (and very colorful) waterfall. The model was part of Saturday's Disney fan expo "D23", showing the Disneyland Monorail traveling around the edge of the attraction (which reportedly involves a 30-person vehicle).

Saturday's event also included details on the long-awaited "reimagining" of the park's Tomorrowland area, with their official blog promising "Yesterday's tomorrow, today!" Tomorrowland has some history, explains the Orange County Register: The land's first update in 1967 was dubbed the New Tomorrowland with the 1998 makeover jokingly referred to as the New, New Tomorrowland. The latest iteration is already being called the New, New, New Tomorrowland. Disneyland's Land of Tomorrow has plenty of empty spaces in need of some Imagineering magic with the Tomorrowland Theater, Star Wars Launch Bay and PeopleMover track all sitting underused.
Or, as The Wrap puts it, "The problem with Tomorrowland, of course, has been keeping up with tomorrow." 1967 introduced New Tomorrowland, with Adventures Thru Inner Space, Carousel of Progress and the PeopleMover giving it the "World on the Move" theme. In 1975 Space Mountain opened and in the 1980's the Tomorrowland stage was enclosed to become a 3D theater, where "Magic Journeys" and "Captain EO" played. Star Tours also opened in the 1980's, giving the area some additional adrenaline. But an elaborate redo of the area, planned for the 1990's, was cut short due to financial woes following the opening of Disneyland Paris and were largely shuttered. (In Florida, a new Tomorrowland was approximated in the mid-1990's but not really followed through on, adopting some of the timelessness of the Jules Verne-inspired Discoveryland from Paris.)

Since the 1990's, Tomorrowland in Disneyland has become largely defunct or outright abandoned... In the late 1990's, Disney tried to use the [PeopleMover] track for a high-speed attraction called Rocket Rods. The attraction never worked properly and was shuttered after just a few years. Rumor has it that the intensity of the ride vehicles actually weakened the PeopleMover track and removing the track would be time consuming and costly. So since the turn of the millennium, there has just been track above and all around Tomorrowland that sits, untouched.

Spotify will begin labeling AI-generated artist identities with "AI Persona" badges and exclude their music from editorial, algorithmic, and personalized recommendations unless users explicitly follow them. The company says the designation applies to whether an artist profile represents a real person, not whether AI was used to make the music, and will allow appeals for mislabeling. TechCrunch reports: While Spotify will allow artists to identify themselves as AI Personas, the company says it won't rely on self-disclosure alone. It will also review artist profiles and identify those where the artist's name and imagery appear to represent photorealistic AI-generated identities. Spotify said it will begin its review with profiles that have met pre-defined audience thresholds to ensure the more listened-to artists are covered first.

Once labeled, the AI Persona badges will appear on the artist's profile in the banner and the About section, in Search, and on track rows across playlists. By default, Spotify won't include AI Personas in its editorial or algorithmic recommendations, nor will it add AI Personas' music to users' personalized recommendations -- unless they happen to follow an AI Persona. Only users can choose to follow an artist, so it's an explicit signal that the user wants to hear more music from that person or group. Spotify wrote in its announcement that, "while we believe all artists have creative choice in determining how they present themselves, Spotify's programming is focused on elevating music from authentic artists building careers in music."

"Although there's a broad spectrum in how artists use AI as a creative tool, the question of whether a profile represents an actual human is one where Spotify can help make a clear determination. This badge is about the artist's public identity, not about how the music was made," the company said.

Paramount is making commitments to major theater chains to release 30 films annually for three years if its Warner Bros. deal goes through. According to Deadline, the written commitment was sent to "at least one of the top two circuits" (specifically Regal but AMC may have also received a written commitment) and includes "an exclusive 45-day theatrical window and a 90-day window to streaming." From the report: When it comes to the big chains, it matters for them to be on the right side of history with Paramount, especially when it comes to future terms on a 30-film slate. However, the rest of Cinema United (formerly National Association of Theatre Owners) remains firmly against the Paramount-Warner Bros merger and its potential negative financial outcomes in regards to long-term box office, feature film output and loss of jobs. Cinema United has been trying to meet again with Paramount CEO David Ellison, but there's nothing on the books yet, we understand.

[Regal boss Eduardo Acuna] told Deadline that in regards to Paramount's future promise to exhibition, "[Paramount CEO] David [Ellison] is sincere in making these commitments, and he has offered to execute a consent decree to the state AGs to that effect. These are tangible and important commitments that will benefit the industry and which can be measured." Paramount insiders tell us that no written commitments have been given to exhibitors yet, but Ellison is willing to make non-bespoke ones to any theater chain wanting them. And such deals will come with financial penalties to Paramount should it break such agreements with theaters. Again, this is all about Ellison standing behind his promises made at CinemaCon to maintain a hefty theatrical output and excellent windows to theaters.

Researchers believe they've found evidence that brain signals reveal the pitches of notes in imagined musical melodies, reports Medical Express: Study participants were 10 epilepsy patients with electrodes on the surfaces of their brains for clinical monitoring. Participants quietly listened to the first bars of children's tunes, then imagined the melodies of subsequent bars before humming their imagined melodies. Brain activity from the patients carried information about relative pitches within the imagined melodies. Combining note-level pitch predictions over time allowed the research team to recreate melodic changes that reflected the structure of the imagined songs...

"The model we created decodes relative pitch classes — such as do, re, mi, fa, sol, and la — rather than exact, absolute pitches," [said tudy co-lead Jii Kwon of Seoul National University]. "This is useful because people often recognize melodies by the relationships between notes, even when the same melody is played in a different key."

Suno says it will begin watermarking and fingerprinting AI-generated songs, tighten download policies to curb mass distribution, and explicitly prohibit deceptive audio and unauthorized voice or likeness cloning. The changes come as the company faces mounting copyright lawsuits, a recent adverse ruling in Germany, and scrutiny over a past data breach that revealed training-data sources. TechCrunch reports: In a blog post, co-founder and CEO Mikey Shulman shared core principles and said that the platform wants to promote original creation while enabling more people to make music with its AI tools. One of the key points of contention involved users uploading AI-generated songs on other streaming platforms and gaming the system to earn revenue. Suno said that now it will use audio watermarking and fingerprinting to prevent misuse on other streaming platforms. It's not clear if Suno will use an existing system like Google's Synth ID or adopt a new one, and the company did not say when contacted by TechCrunch about this.

The startup also signed an agreement with lyrics provider Musixmatch to use its Sentinel system for copyright detection, the blog post said. [...] The company added that it plans to add a new download policy to bar mass distribution on streaming platforms, but declined to provide details on the record. Suno has also changed its community guidelines to explicitly prohibit "deceptive audio presented as real" and "using a real person's voice or likeness without permission" to prevent copycats.

An anonymous reader quotes a report from Ars Technica: The Federal Communications Commission voted 2-1 today to eliminate the National Television Ownership Rule, claiming authority to repeal a limit that was set by Congress over 20 years ago. The rule prohibits any single broadcast station owner from reaching more than 39 percent of all TV households in the US. Under Chairman Brendan Carr, the FCC is replacing the rule with a "case-by-case review" of each proposed merger.

"This will empower the FCC to approve deals that promote the public interest while allowing the agency to reject any deals that do not meet that standard," Carr's office said in a press release today. Without the 39 percent rule, broadcasters will be better able to compete against streaming companies that don't face similar limits, Carr's office said.

The change, if not stopped by courts, will make it easier for Carr to allow broadcast mergers that result in more favorable news coverage for President Trump. Carr has consistently threatened to revoke licenses from broadcasters who have drawn Trump's ire, including by ordering an early license review of all ABC-owned stations. Carr said local broadcast TV stations are becoming "undifferentiated passthroughs of national programming produced in Hollywood and New York," and he justified repealing the ownership rule by arguing it will help the stations invest in local news. "It's worth noting that Republicans with deep firsthand knowledge of this issue also agree the commission cannot do what it is attempting today," said Democratic FCC Commissioner Anna Gomez, who voted against the decision today. "Former FCC Commissioner Mike O'Rielly has been unequivocal that the FCC lacks authority to change the cap. Former House Majority Leader Tom DeLay, who negotiated the 39 percent compromise, has stressed that Congress intentionally wrote the cap into law to prevent FCC revision. And Senate Commerce Chair Ted Cruz has said he is 'skeptical a change can be made absent an act of Congress.' Their consensus reinforces a simple point: Congress set the cap, and only Congress can change it."

Gomez, in addition to arguing that "Congress deliberately enshrined the cap in statute and removed it from the Commission's review process," said removing the cap will hurt local broadcasters. "Digital giants compete for their most valuable programming and advertising, while consolidation pressures at the national level threaten the local reporting and public-safety functions on which communities rely," Gomez said. "But eliminating the cap does not free local broadcasters from that strain. It just changes who is doing the squeezing. A handful of station-group giants does not represent the wishes of local broadcasters. They are large national companies that own local stations and increasingly dictate what airs on them without much local input. Trading a squeeze from Big Tech for a squeeze from Big Media does nothing to protect the communities this cap was designed to serve."

An anonymous reader quotes a report from TechCrunch: Several popular Samsung smart TV apps contain code that share the owner's internet connection with strangers, potentially putting millions of Samsung smart TVs at risk of hijacking, according to new security research published on Monday. Some of these apps claim to have been installed on hundreds of millions of smart TVs in people's homes, per the app developers. At least one of the smart TV apps was a simple Pac-Man game that Samsung had endorsed and prominently featured in its "Editor's Choice" section on customers' TV screens. These apps contain software that funnels outsiders' web traffic through ordinary home and office internet connections, known as residential proxy networks (or "resproxies"), which are increasingly being linked to cybercrime. When opened, apps with resproxy code can turn the smart TV into an always-on tunnel for outsiders to funnel their web traffic through, known as an exit node -- even when the app is no longer open.

The security research by Norwegian cybersecurity company Mnemonic describes a perfect storm of problems that allows low-quality apps to proliferate across Samsung's app store, containing code that puts users at risk of having their internet connections tapped by a rogue app. Many of these apps are bare-bone shells, made from only a few lines of code, and are designed solely to load content from another website, such as a game. While such smart TV apps load content from another server, any review of these apps sees only the few lines of code within, and not necessarily the content itself. "What was reviewed is not necessarily what is running," wrote Harrison Sand, an offensive security consultant at Mnemonic.

After TechCrunch contacted Samsung with a request for comment about the research, the electronics giant said in an emailed statement that it was banning apps that share their users' internet connections, and will remove apps that contain the functionality. "We have already restricted new app registrations that incorporate such proxy functionalities on our Smart TV platform," said a Samsung spokesperson. "We are currently implementing strict platform-wide developer policies explicitly banning residential proxy SDKs, and we are working to identify and remove all apps currently available in our store that contain these components." LG also recently announced plans to suspend apps containing ResProxy software after a security firm found that roughly 42% of apps in its TV app store allowed unknown third parties to route internet traffic through users' televisions without their knowledge.