Online subscriptions sure sound cheap, but what do a few bucks a month to watch TV shows, store photos online and stream music add up to? Quite a lot, it turns out. From a report: In 2019, we each spent $640 on digital subscriptions like streaming video and music services, cloud storage, dating apps and online productivity tools, according to an analysis for The New York Times by Mint, the online budgeting tool owned by Intuit, using data from millions of its users. That was up about 7 percent from $598 in 2017. We increased our spending the most last year on streaming TV services, paying $170 to subscribe to the likes of Netflix, Hulu and new entrants like Disney Plus and Apple TV Plus. While that was far cheaper than most traditional cable TV packages, which cost roughly $1,200 a year, it was up 30 percent from the $130 we spent on streaming TV services in 2017. Our spending on digital subscriptions is likely to only rise as more of our possessions become connected to the internet, like our television sets, home security systems and cars. At the same time, it will become harder and harder to keep track of all of the services we pay for.

A reader shares a report from Ars Technica: CBS has made the entirety of the first episode of its new series Star Trek: Picard freely and publicly available as a YouTube video. This is an opportunity for viewers curious about the show to see if Picard is worth subscribing to the network's streaming service, CBS All Access, to watch the rest of the series. The episode on YouTube is the same as the pilot episode that premiered on CBS All Access last week. The second episode of Picard began streaming on CBS All Access yesterday, and the network plans to release episodes at a weekly cadence.

CBS has not said whether it plans to make other episodes available for free on YouTube in the future, but it seems likely. The description for the video says the episode will only be available "for a limited time" and that it's presented by Geico. It does not, however, clarify how long "a limited time" is or when the video might become unavailable.

An anonymous reader quotes a report from Motherboard: On the night of December 30, Sergeant Vince Iovinella of the Morgan County Sheriff's Department in rural Colorado was on patrol when the calls started coming in about drones. "Residents began calling in reports of drones of unknown origin moving above houses and farms," Iovinella wrote in a statement obtained by Motherboard via a public records request. "The numbers would range from 4 to 10 drones in an area at a time. Some were reported to be low and at least 6 ft. long." Iovinella further reported the drones had white and red flashing lights as he and other deputies made "several attempts" to follow the drones. The drones were moving "very fast at times" but could also "sustain a hover over an area for long periods of time."

"There were many sighting's [sic] coming in and at the same time," Iovinella continued. "It is believed that there could have been up to 30 drones moving around the county if not more and appeared to be working in a search pattern across the county." This was yet another night on eastern Colorado's new drone patrol, following a slate of reports on mysterious fixed-wing drones in the area. They'd come out at night between approximately 7 to 10 p.m. The story, which was first reported by the Denver Post, got international press attention. "In all of these cases," Iovinella wrote in this statement, "it is unknown who owns the drone or what their purpose is." That's because the drones never existed. The Colorado Department of Public Safety (CDPS) "confirmed no incidents involving criminal activity, nor have investigations substantiated reports of suspicious or illegal drone activity."

"Of the 23 reports between January 6 and January 13 when the investigation was underway, 13 were determined to be 'planets, stars, or small hobbyist drones,'" reports Motherboard. "Six were commercial aircraft, and four remain unconfirmed. None of the 90 reports from November 23 onward were confirmed instances of illegal drone activity."

Helios and Matheson Analytics, which owns the defunct MoviePass cinema-subscription service, has filed for Chapter 7 bankruptcy protection. From a report: The company disclosed the move in an SEC filing dated Jan. 28, when Helios and Mathenson filed the petition for Chapter 7 bankruptcy in the U.S. Bankruptcy Court for the Southern District of New York. Chapter 7 of the bankruptcy code dissolves an entity, whose assets are sold off to repay creditors (unlike Chapter 11 bankruptcy, in which a company seeks to renegotiate with creditors). In its bankruptcy filing, Helios and Matheson listed the estimated value of assets at between $1 million-$10 million and $60.9 million in total creditor claims. The bankruptcy filing comes after MoviePass in September 2019 notified remaining subscribers that it would be shutting down indefinitely because "its efforts to recapitalize MoviePass have not been successful to date."

Longtime Slashdot reader SpaceGhost writes: Per Engadget, Ms. Eilish and her older brother (Finneas O'Connell) produced her massively popular album When We All Fall Asleep, Where Do We Go? with minimal studio gear out of a bedroom studio in their parents' house. They used equipment that many aspiring artists could afford (about $1,000 worth of Yamaha monitors for instance, and at first a $100 microphone.) The 18-year-old singer swept all four of the night's biggest prizes -- Best New Artist, Song of the Year, Record of the Year and Album of the Year -- along with honors for Best Pop Vocal Album.

According to a Pro Sound Network interview with O'Connell, their production setup included a pair of $200 Yamaha HS5 nearfield monitors with a $450 H8S subwoofer, a Universal Audio Apollo 8 interface and Apple's Logic Pro X. The duo reportedly used to record with a $99 Audio Technica AT2020 mic. "The stems (that is, individual layers of instruments and music) were then sent to mix engineer Rob Kinelski to compile," adds Engadget.

The US film industry may have generated revenues somewhere in the region of $40 billion last year, but it seems Hollywood still has plenty of work to do if it wants to compete with that most hallowed of American institutions: the public library. From a report: According to a recent Gallup poll (the first such survey since 2001), visiting the local library remains by far the most common cultural activity Americans engage in. As reported earlier today by Justin McCarthy: "Visiting the library remains the most common cultural activity Americans engage in, by far. The average 10.5 trips to the library U.S. adults report taking in 2019 exceeds their participation in eight other common leisure activities. Americans attend live music or theatrical events and visit national or historic parks roughly four times a year on average and visit museums and gambling casinos 2.5 times annually. Trips to amusement or theme parks (1.5) and zoos (.9) are the least common activities among this list."

schwit1 quotes CNN's report on a software engineer who really loves Star Wars costumes:
"I kind of incorporated all of the things that I've learned in 3-D printing and DIY into this project," said Nils Rasmusson. Over the course of nine months, he printed the suit and put it together. "I had to figure out — how do you put all of these pieces together? There's no tutorial or instructions on this," he said.

The helmet alone is made up of 19 different pieces fabricated on the printer. Rasmusson said he used five printers, humming for about 400 to 600 hours, to fabricate the suit out of plastic filament.

It's even bulletproof. His friend works for a company that bulletproofs cars...

An anonymous reader quotes a report from The Hollywood Reporter: Ahead of the Game Developer's Conference (GDC) -- which is dedicated to the art and science of making video games and set to take place March 16-20 at the Moscone Center in San Francisco -- the results of the organization's eighth annual State of Industry report were released Friday. Surveying nearly 4,000 video game developers with the intent of highlighting industry trends and forecasts for the future of gaming, this year's report indicates an increasing interest in the games industry to unionize. This was also a major topic of conversation in 2019, amid reports of gaming professionals working extended overtime hours and tolerating poor working conditions. Among the survey participants, 54 percent said that game industry workers should unionize (a 7 percent increase from last year), 21 percent answered "maybe" and 9 percent said they weren't sure. When the same group was asked whether they thought game industry workers would unionize, only 23 percent said "yes," while 43 percent said "maybe."

If a report from The Wall Street Journal is correct, Apple's TV Plus service that launched late last year has 10 million more subscribers than Disney Plus, which launched at a similar time but with access to almost every TV show and movie Disney owns the rights to. For comparison, Apple TV Plus launched with only 11 titles. Fast Company reports: According to the Wall Street Journal, an Ampere Analysis study found that Apple's fledgling Apple TV Plus service garnered an astounding 33.6 million subscribers in the U.S. in Q4 2019. That puts it as the third-most-popular streaming service in America. Here are the top five streaming video services according to the report: 1.) Netflix -- 61.3 million U.S. subscribers; 2.) Amazon Prime Video -- 42.2 million U.S. subscribers; 3.) Apple TV Plus -- 33.6 million U.S. subscribers; 4.) Hulu -- 31.8 million U.S. subscribers; 5.) Disney Plus -- 23.2 million U.S. subscribers.

To be sure, Apple TV Plus is the video streaming service with the lowest monthly cost at just $4.99, but with only 11 series or movies available at launch in Q4 2019, how on earth did it leapfrog Disney Plus with its catalog of Marvel, Star Wars, and Pixar offerings (not to mention Baby Yoda)? The answer probably lies in the fact that Apple began giving away free subscriptions to its Apple TV Plus service to anyone who bought an iPhone, iPad, Mac, or Apple TV from mid-September onwards. Given that Apple sells tens of millions of those devices a month, it's no wonder Apple TV Plus has accumulated so many subscribers already. However, the real test for Apple will be how many of those subscribers stay on once their year-long free subscription of Apple TV Plus comes to an end.

On Tuesday, Sonos announced that come May 2020, a number of its older products will no longer receive software updates. Naturally, this frustrated many longtime customers, prompting Sonos CEO Patrick Spence to issue a statement to try to clear up the confusion. The Verge reports: "We heard you," is how Spence begins the letter to customers. "We did not get this right from the start." Spence apologizes for any confusion and reiterates that the so-called legacy products will "continue to work as they do today." "Many of you have invested heavily in your Sonos systems, and we intend to honor that investment for as long as possible."

Similarly, Spence pledges that Sonos will deliver bug fixes and security patches to legacy products "for as long as possible" -- without any hard timeline. Most interesting, he says "if we run into something core to the experience that can't be addressed, we'll work to offer an alternative solution and let you know about any changes you'll see in your experience." The letter from Sonos' CEO doesn't retract anything that the company announced earlier this week; Spence is just trying to be as clear as possible about what's happening come May. Spence again confirms that Sonos is planning a way for customers to fork any legacy devices they might own off of their main Sonos system with more modern speakers. (Sonos architected its system so that all devices share the same software. Once one product is no longer eligible for updates, the whole setup stops receiving them. This workaround is designed to avoid that problem.)

Streaming service touts its large collection of titles, but a majority are uploads -- and questionable films are in the mix [Editor's note: the link may be paywalled; an alternative source wasn't immediately available.]. From a report: When Walter Wilson, a construction worker from North Carolina, sat down to watch the blockbuster "Avengers: Endgame" on Amazon Prime Video, he ended up seeing something very different: a 2007 documentary, also titled "Endgame," directed by far-right talk show host Alex Jones. Mr. Jones's videos have been banned from many mainstream sites like Apple's iTunes and Facebook for promoting outlandish conspiracy theories. "Endgame" purported to document a clandestine organization of bankers and politicians bent on establishing a "blueprint for global enslavement." Its availability on Amazon.com's streaming service highlighted a fact not widely known among subscribers: The e-commerce giant accepts nonprofessional and questionable content to offer a video library that in Amazon's style can dominate the competition through sheer volume.

While the video service is known for original movies and shows that have won Oscars and Emmys -- such as "Manchester By the Sea" and "Transparent" -- the site also carries thousands of conspiracy-theory videos, amateur productions and short instructional clips. Similar to Alphabet's YouTube, some videos are uploaded by individuals who made them or by others owning the rights to the content. Others Amazon bought in bulk as part of vast libraries of amateur content. An Amazon spokeswoman says the company has sought a broad selection of content, including videos from award winners and independent producers.

"During its Q4 earnings call, Netflix shot down the idea of an ad-supported option for its service," writes Slashdot reader saccade.com. TechCrunch reports: "Google and Facebook and Amazon are tremendously powerful at online advertising because they're integrating so much data from so many sources. There's a business cost to that, but that makes the advertising more targeted and effective. So I think those three are going to get most of the online advertising business," Netflix CEO Reed Hastings said. To grow a $5 billion to $10 billion advertising business, you'd need to "rip that away" from the existing providers [such as Facebook, Amazon Google], he continued. And stealing online advertising business from [them] is "quite challenging," Hastings added, saying "there's not easy money there."

"We've got a much simpler business model, which is just focused on streaming and customer pleasure," he said. The CEO also noted that Netflix's strategic decision to not enter the ad business has its upsides, in terms of the controversies that surround companies that collect personal data on their users. To compete, Netflix would have to track more data on its subscribers, including things like their location -- that's not something it's interested in doing, he said, calling it "exploiting users." "We don't collect anything. We're really focused on just making our members happy," Hastings stated. "We think with our model that we'll actually get to larger revenue, larger profits, larger market cap because we don't have the exposure to something that we're strategically disadvantaged at -- which is online advertising against those big three," he said. TechCrunch points out that Netflix does track viewership data, overall viewing trends, and users' own interactions with its service. It also recently introduced a new "chose to watch" viewership metric.

"However, none of this viewership tracking is on the scale of big tech's data collection practices, which is what Hastings meant by his comment," the report says.

Mogster shares a report from the BBC: Monty Python stars have led the tributes to their co-star Terry Jones, who has died at the age of 77. The Welsh actor and writer played a variety of characters in the iconic comedy group's Flying Circus TV series, and directed several of their films. He died on Tuesday, four years after contracting a rare form of dementia known as Frontotemporal Dementia (FTD). Here are some of Jones' best lines:

"Now, you listen here! He's not the Messiah. He's a very naughty boy!" -- as Brian's mother in Monty Python's Life of Brian

"I'm alive, I'm alive!" -- as the naked hermit who gives away the location of a hiding Brian in Life of Brian

"I shall use my largest scales" - as Sir Belvedere, who oversees a witch trial in Monty Python and the Holy Grail

"What, the curtains?" -- as Prince Herbert, who is told "One day, lad, all this will be yours" in Holy Grail

"Spam, spam, spam, spam, spam, spam, spam" -- as the greasy spoon waitress in a Monty Python sketch

With Half-Life: Alyx launching in March 2020, Valve is offering gamers the opportunity to play every Half-Life game on Steam for free. "This is basically a two-month-long trial; you won't get to keep these games," notes The Verge. "Every game is compatible with Windows, Linux, and macOS (though all of these games are 32-bit apps, which means they don't work on macOS 10.15 Catalina)." From the report: This promotion includes the original Half-Life (the Source version of the game with added physics to make it feel more modern to play, not the beautiful remaster Black Mesa) and its expansions, Half-Life: Blue Shift and Half-Life: Opposing Force. Also available for free is Half-Life 2 and its two episodic expansions. (According to Valve, Half-Life: Alyx takes place before the events of Half-Life 2.) Valve's Half-Life 2: Lost Coast, its tech demo for HDR lightning, isn't included in this promotion. You can view all the Half-Life games on Steam and start downloading them here.

Claire Murdoch, mental health director of England's National Health Service (NHS), has reignited the loot box controversy with a report claiming they push young people into "under the radar" gambling. PC Gamer reports: "Frankly no company should be setting kids up for addiction by teaching them to gamble on the content of these loot boxes", she said. "No firm should sell to children loot box games with this element of chance, so yes those sales should end." Loot boxes aren't currently regulated by England's Gambling Commission because their contents can't be monetized. The report calls this a "loophole" because, "Despite this, third party websites selling gaming accounts and rare items are commonplace and easy to find on places such as eBay across the internet."

Murdoch called on game publishers to ban games whose loot boxes encourage children to gamble, as well as to introduce spending limits, tell players the odds of receiving each item before they buy a loot box, and "Support parents by increasing their awareness on the risks of in-game spending." As for what those risks are, the report says, "Investigations have found numerous cases of children spending money without their parents' knowledge, including a 16-year-old paying 2,000 British Pounds on a basketball game and a 15-year-old losing 1,000 British Pounds in a shooting game."

A PS5 leak posted on 4Chan, which was later reposted on Reddit, spills a bunch of information on the PlayStation 5 reveal event which is expected to take place in February. According to the leak, the PS5 will be unveiled on February 5 at a PlayStation Meeting event for the media. "The console design, controller, UI/home screen, certain features, console specs, talk from third parties/indie publishers, as well as announcements for PS5 exclusives will be shown," says the leaker.

The leak says the PS5 will support backwards compatibility with games from all 5 PlayStation platforms; PS4 accessories will be compatible on the new console as well; and the specs will rival Microsoft's Xbox Series X console. Furthermore, it states that the PS5 will launch worldwide in October 2020, priced at $499 in the U.S. It'll also be launched with several exclusive titles. You can read the full list of details here.

Might it be possible that someday in the near future, an official might get you to dance around a bit, in order to confirm that you're really you? Perhaps not, but nonetheless, a recent study has determined that people's identities can be matched to their unique style of dancing. From a report: Scientists at Finland's University of Jyvaskyla started out by using motion capture technology to see if test subjects' psychological traits could be ascertained from the way in which they danced -- such traits included their mood, their level of empathy, and how extroverted or neurotic they were. The researchers were also interested in seeing if simply by watching a person dance, it would be possible to determine what sort of music they were dancing to. This only worked about 30 percent of the time. What they unintentionally discovered, however, was that regardless of the type of music, each person has a characteristic style of dancing that can be identified and matched specifically to themselves. Doing so is accomplished utilizing machine learning algorithms, in conjunction with the motion capture tech. In the study, a total of 73 volunteers each danced to eight genres of music â" these included Blues, Country, Dance/Electronica, Jazz, Metal, Pop, Reggae and Rap. The participants received no instructions, other than to "move any way that felt natural."

The iconic animated features of Japan's Studio Ghibli will be available in territories outside the U.S., Canada and Japan on Netflix starting in February. From a report: The move is a further change of position for the studio which has repeatedly resisted the idea that its beloved cartoons would be released on digital platforms. Netflix, sales agent Wild Bunch, and Studio Ghibli, which counts Hayao Miyazaki as one of its leading lights, will upload 21 Ghibli features including Academy Award-winner "Spirited Away," "Princess Mononoke," "Arrietty," "Kiki's Delivery Service," "My Neighbor Totoro," and "The Tale of The Princess Kaguya." They will be screened in their native Japanese, with sub-titles, and be available globally on Netflix except in the U.S., Canada, and Japan.

71-year-old science fiction author William Gibson coined the word "cyberspace" in his 1984 novel Neuromancer. 36 years later he's back with an even more dystopian future in his new novel Agency.

But in a surprisingly candid interview in the Daily Beast, Gibson says he prefers watching emerging new technologies first because "To use it is to be changed by it; you're not the same person."
"I'm not someone who works from assumptions about where technology might be going. My method of writing is exploratory about that."

That's certainly the case with Agency, Gibson's latest, a densely structured, complexly plotted novel that takes place in two separate time frames, which he refers to as "stubs," and has as one of its central characters an AI named Eunice, who is one part uploaded human consciousness and another part specialized military machine intelligence. In one stub it's 2017, a woman is in the White House, and Brexit never happened. But the threat of nuclear war nonetheless hovers over a conflict in the Middle East. In the other stub, it's 22nd century London after "the jackpot," a grim timeline of disasters that has reduced the Earth's population by 80 percent and left Britain to be ruled by "the klept," which Gibson describes as a "hereditary authoritarian government, [with its] roots in organized crime."

Given these scenarios, it's no surprise to discover that the 71-year-old Gibson's latest work was heavily influenced by the 2016 election and the ascendancy of Donald Trump to the presidency. "The book I had been imagining had been a kind of a romp," says the U.S.-born Gibson down the phone line from his long-time home in Vancouver, B.C. "But then the election happened, and I thought, 'Uh-oh, my whole sense of the present is 24 hours out of date, and that's enough to make the book I've been working on kind of meaningless.' It took me a long time [to re-think and re-write the book], and I thought the weirdness factor of reality, finding some balance -- what can I do with the existing level of weirdness, and that level kept going up. I wanted to write a book that current events wouldn't have left by the time it got out, and I think Agency works...."

"It's an interesting time for science fiction now," says Gibson, "because there are people writing contemporary fiction who are effectively writing science fiction, because the world they live in has become science fiction. Writing a contemporary novel today that doesn't involve concepts that wouldn't have been seen in science fiction 20 years ago is impossible. Unless it's an Amish novel."
The Washington Post calls Gibson's new novel "engaging, thought-provoking and delightful," while the senior editor at Medium's tech site One Zero says it's the first time Gibson "has taken direct aim at Silicon Valley, at the industry and culture that has reorganized the world -- with some of his ideas propelling it."

"The result is a blend of speculation and satire that any self-respecting denizen of the digital world should spend some time with."

And they're also publishing an exclusive excerpt from the novel.

Engadget reports on a new tech-industry-in-space comedy premiering tonight on HBO:
If you thought that HBO was done mocking technology companies now that Silicon Valley is done, think again. Avenue 5 is the channel's new sitcom, and one that asks the question: "What if tech bros were in charge of more than just our internet histories?'" The answer, at least according to the first half of the season, is that it won't be pretty -- or safe...

The Avenue 5 is a large space liner that, in the words of cinematographer Eben Bolter, is designed after a vulgar space hotel that goes too far and "gets the details wrong". This Titanic-like vessel and its 5,000 passengers are on a routine jaunt through the solar system when a minor disaster strikes, and its course is altered. But this is space, where a small deviation changes the flight time from eight weeks to several years.

The ship is owned by Herman Judd (Josh Gad) of the Judd Corporation, a self-regarding business magnate who, in Bolter's mind, has "only ever had one good idea." He's not quite an analog for the Bezoses and Musks you may be thinking of, but more a cracked-mirror version of both. Throughout the show, he attempts to impose his thinking on the crisis as if he was still in California, or wherever Silicon Valley moved after the show's alluded-to Huawei Wars. Early on, Judd is presented with the intractable problem of space physics, and he hopes to fix things as he did on Earth. He says, in the Jobsian tradition, that you can make something happen by making someone say that it can. The fight between visionary optimism and reality is harder when you're surrounded by an infinite vacuum, after all.

Avenue 5's point seems to be that you can't simply blue-sky your way out of a crisis when reality keeps getting in the way.