Google Podcasts is shutting down in 2024 after YouTube Music picks up full global availability of podcasts, which is expected before the end of 2023. As 9to5Google reports, YouTube Music "will be Google's one podcasting app and service going forward." From the report: The big advantage of Google Podcasts was its simplicity and wide availability on Android (through the Google Search app). A "simple migration tool" will move your existing subscriptions from Google Podcasts. Notably, there will be the ability in YouTube Music to add podcasts via RSS feeds, "including shows not currently hosted by YouTube." Google will also provide a non-YTM export option via "OPML file of their show subscriptions" that will work with other podcast players.

On the podcaster front, YouTube will allow for RSS uploads instead of requiring a video version. The next step over the coming weeks and months will see Google "gather feedback to make the migration process from Google Podcasts to YouTube Music as simple and easy as possible." "For now, nothing is changing and fans will continue to have access to YouTube, YouTube Music and Google Podcasts," says YouTube. "We're committed to being transparent in communicating future changes with our users and podcasters and will have more to share about this process in the coming months."

Twenty years ago, a group of friends shot a Matrix fan film on a limited budget. Sharing their creation with the rest of the word initially appeared to be too expensive, but then they discovered a new technology called BitTorrent. Fast forward two decades and their "Fanimatrix" release is the oldest active torrent that's still widely shared today. Ernesto Van der Sar writes via TorreantFreak: The oldest surviving torrent we have seen is a copy of the Matrix fan film "The Fanimatrix." The torrent was created in September 2003 and will turn 20 years old in a few days. A truly remarkable achievement. The film was shot by a group of New Zealand friends. With a limited budget of just $800, nearly half of which was spent on a leather jacket, they managed to complete the project in nine days. While shooting the film was possible with these financial constraints, finding a distribution channel proved to be a major hurdle. Free video-sharing services didn't exist yet and server bandwidth was still very costly. Technically the team could host their own server, but that would cost thousands of dollars, which wasn't an option. Luckily, however, the group's IT guy, Sebastian Kai Frost, went looking for alternatives.

Frost had a bit part in the film and did some other work as well, but the true breakthrough came when he stumbled upon a new technology called BitTorrent. This appeared to be exactly what they were looking for. "It looked promising because it scaled such that the more popular the file became, the more the bandwidth load was shared. It seemed like the perfect solution," Frost told us earlier. After convincing the crew that BitTorrent was the right choice, Frost created a torrent on September 28, 2003. He also compiled a tracker on his own Linux box and made sure everything was running correctly. Today, more than twenty years have passed and the torrent is still up and running with more than a hundred seeders. As far as we know, it's the oldest active torrent on the Internet, one that deserves to be in the history books. "I never expected to become the world's oldest torrent but now it's definitely become a thing I'd love to keep carrying on. So I'll be keeping this active as long as I physically can," Frost tells TorrentFreak. "It's really heartening seeing the community pull together around this torrent, despite its usually low transfer count, and work together to keep it alive and kicking. It warms my heart on the daily."

"We're super pumped that it's still going and that people still take an interest in it. Looking forward to the 25th and having something special to share with the world," Frost concludes.

An anonymous reader quotes a report from CBS News: Denmark's Lego said on Monday that it remains committed to its quest to find sustainable materials to reduce carbon emissions, even after an experiment by the world's largest toymaker to use recycled bottles did not work. Lego said it has "decided not to progress" with making its trademark colorful bricks from recycled plastic bottles made of polyethylene terephthalate, known as PET, and after more than two years of testing "found the material didn't reduce carbon emissions." Lego enthusiastically announced in 2021 that the prototype PET blocks had become the first recycled alternative to pass its "strict" quality, safety and play requirements, following experimentation with several other iterations that proved not durable enough.

The company said scientists and engineers tested more than 250 variations of PET materials, as well as hundreds of other plastic formulations, before nailing down the prototype, which was made with plastic sourced from suppliers in the U.S. that were approved by the Food and Drug Administration and European Food Safety Authority. On average, a one-liter plastic PET bottle made enough raw material for ten 2 x 4 Lego bricks. Despite the determination that the PET prototype failed to save on carbon emissions, Lego said it remained "fully committed to making Lego bricks from sustainable materials by 2032." [...] Lego said it will continue to use bio-polypropylene, the sustainable and biological variant of polyethylene -- a plastic used in everything from consumer and food packaging to tires -- for parts in Lego sets such as leaves, trees and other accessories.

"After several long consecutive days of negotiations, the Writers Guild of America and the labor group representing studios and streamers have reached a tentative deal on a new contract," according to the Hollywood Reporter.

"We can say, with great pride, that this deal is exceptional," the Guild's negotiating committee told its members in an email, "with meaningful gains and protections for writers in every sector of the membership." The Hollywood Reporter calls the news "a major development that could precipitate the end of a historic, 146-day writers' strike."

Details from the Los Angeles Times: The proposed three-year contract, which would still have to be ratified by the union's 11,500 members, would boost pay rates and residual payments for streaming shows and impose new rules surrounding the use of artificial intelligence...

With the tentative pact with the WGA done, entertainment company leaders are expected to turn their attention to the 160,000-member performers union, SAG-AFTRA, to accelerate those stalled talks in an effort to get the industry back to work. Actors have been on strike since mid-July...

The writers' strike was, in many ways, a response to the tectonic changes wrought by streaming. Shorter seasons for streaming shows and fewer writers being hired have cut into guild members' pay and job stability, making it harder to earn a sustainable living in the expensive media hubs of Los Angeles and New York, guild members have said.

The studios came into negotiations with their own set of challenges. The pay-TV business is in decline because of cable cord-cutting and falling TV ratings, which have eroded vital sources of revenue. At the same time, the traditional companies have spent massively to launch robust streaming services to compete with Netflix, losing billions of dollars in the process.

An anonymous reader shared this report from the New York Times' media reporter: In a nondescript office park minutes from Disneyland sits a nondescript warehouse. Inside this nameless, faceless building, an era is ending.

The building is a Netflix DVD distribution plant. Once a bustling ecosystem that processed 1.2 million DVDs a week, employed 50 people and generated millions of dollars in revenue, it now has just six employees left to sift through the metallic discs. And even that will cease on Friday, when Netflix officially shuts the door on its origin story and stops mailing out its trademark red envelopes. "It's sad when you get to the end, because it's been a big part of all of our lives for so long," Hank Breeggemann, the general manager of Netflix's DVD division, said in an interview. "But everything runs its cycle. We had a great 25-year run and changed the entertainment industry, the way people viewed movies at home."

When Netflix began mailing DVDs in 1998 — the first movie shipped was "Beetlejuice" — no one in Hollywood expected the company to eventually upend the entire entertainment industry... At its height, Netflix was the Postal Service's fifth-largest customer, operating 58 shipping facilities and 128 shuttle locations that allowed Netflix to serve 98.5 percent of its customer base with one-day delivery...

Netflix's DVD operations still serve around one million customers, many of them very loyal... To ease the backlash, Netflix is allowing its DVD customers to hold on to their final rentals.
"One hundred people at Netflix still work on the DVD side of the business, though most will soon be leaving the company."

Since 1999, Slashdot has been covering the annual Ig Nobel prize ceremonies — which honor real scientific research into strange or surprising subjects. "Each winner (or winning team) has done something that makes people LAUGH, then THINK," explains the ceremony web page, promising that "a gaggle of genuine, genuinely bemused Nobel laureates handed the Ig Nobel Prizes to the new Ig Nobel winners." As co-founder Marc Abrahams says on his LinkedIn profile, "All these things celebrate the unusual, honor the imaginative — and spur people's interest in science, medicine, and technology."

You can watch this year's entire goofy webcast online. (At 50 minutes there's a jaw-droppingly weird music video about running on water...) Slashdot reader Thorfinn.au shares this summary of this year's winning research: CHEMISTRY and GEOLOGY PRIZE [POLAND, UK] — Jan Zalasiewicz, for explaining why many scientists like to lick rocks.

LITERATURE PRIZE [FRANCE, UK, MALAYSIA, FINLAND] — Chris Moulin, Nicole Bell, Merita Turunen, Arina Baharin, and Akira O'Connor for studying the sensations people feel when they repeat a single word many, many, many, many, many, many, many times.

MECHANICAL ENGINEERING PRIZE [INDIA, CHINA, MALAYSIA, USA] — Te Faye Yap, Zhen Liu, Anoop Rajappan, Trevor Shimokusu, and Daniel Preston, for re-animating dead spiders to use as mechanical gripping tools.

PUBLIC HEALTH PRIZE [SOUTH KOREA, USA] — Seung-min Park, for inventing the Stanford Toilet a computer vision system for defecation analysis et al.

COMMUNICATION PRIZE [ARGENTINA, SPAIN, COLOMBIA, CHILE, CHINA, USA] — María José Torres-Prioris, Diana López-Barroso, Estela Càmara, Sol Fittipaldi, Lucas Sedeño, Agustín Ibáñez, Marcelo Berthier, and Adolfo García, for studying the mental activities of people who are expert at speaking backward.

MEDICINE PRIZE [USA, CANADA, MACEDONIA, IRAN, VIETNAM] — Christine Pham, Bobak Hedayati, Kiana Hashemi, Ella Csuka, Tiana Mamaghani, Margit Juhasz, Jamie Wikenheiser, and Natasha Mesinkovska, for using cadavers to explore whether there is an equal number of hairs in each of a person's two nostrils.

NUTRITION PRIZE [JAPAN] — Homei Miyashita and Hiromi Nakamura, for experiments to determine how electrified chopsticks and drinking straws can change the taste of food.

EDUCATION PRIZE [HONG KONG, CHINA, CANADA, UK, THE NETHERLANDS, IRELAND, USA, JAPAN] — Katy Tam, Cyanea Poon, Victoria Hui, Wijnand van Tilburg, Christy Wong, Vivian Kwong, Gigi Yuen, and Christian Chan, for methodically studying the boredom of teachers and students.

PSYCHOLOGY PRIZE [USA] — Stanley Milgram, Leonard Bickman, and Lawrence Berkowitz for 1968 experiments on a city street to see how many passersby stop to look upward when they see strangers looking upward.

PHYSICS PRIZE [SPAIN, GALICIA, SWITZERLAND, FRANCE, UK] — Bieito Fernández Castro, Marian Peña, Enrique Nogueira, Miguel Gilcoto, Esperanza Broullón, Antonio Comesaña, Damien Bouffard, Alberto C. Naveira Garabato, and Beatriz Mouriño-Carballido, for measuring the extent to which ocean-water mixing is affected by the sexual activity of anchovies.

An anonymous reader shares a report: The Streaming Era began with a promise of nurturing shows without fear of ratings pressure and quick cancellations. Of course, that was a lark. Soon enough, the streamers began slashing shows as quickly and brutally as any Nielsen-obsessed broadcaster, and they were all flooded with same complaint: "The streamers just cancel everything! Nothing gets more than a season anymore!" How true is that really? After all, the streamers are looking for hit shows, just like traditional networks. If a show gets high viewership relative to the cost of producing it, it gets renewed. Otherwise, it is canceled. That is how it has worked since the days of black-and-white TV.

To get to the heart of the matter, Variety Intelligence Platform (VIP+) and Luminate collaborated on a data exploration to determine how often the leading U.S.-based streaming and linear programmers have canceled series TV series over the past three years. The new report, "The Show Must Go Off," is an exhaustive statistical analysis that aims to settle one of the most hotly contested debates in the TV industry. The data covered all shows (scripted and unscripted) canceled between 2020 and Aug. 8, 2023. The major streamers (Netflix, Hulu, Disney+, Amazon Prime Video, Max, Apple TV+, Peacock, Paramount+) overall had a combined average cancellation rate of 12.2% -- not much higher than linear TV (10.8%), but less than half of broadcast TV alone over that period. Warner Bros. Discovery-owned Max (formerly HBO Max) was by far the most brutal when it comes to cancelling shows, coming in at 26.9%.

Stability AI today announced the initial public release of its Stable Audio technology, providing anyone with ability to use simple text prompts to generate short audio clips. VentureBeat reports: StableAudio is a new capability, though it is based on many of the same core AI techniques that enable Stable Diffusion to create images. Namely the Stable Audio technology makes use of a diffusion model, albeit trained on audio rather than images, in order to generate new audio clips. "Stability AI is best known for its work in images, but now we're launching our first product for music and audio generation, which is called Stable Audio," Ed Newton-Rex, VP of Audio at Stability AI told VentureBeat. "The concept is really simple, you describe the music or audio that you want to hear in text and our system generates it for you."

Newton-Rex is no stranger to the world of computer generated music, having built his own startup called Jukedeck in 2011, which he sold to TikTok in 2019. The technology behind Stable Audio however does not have its roots in Jukedeck, but rather in Stability AI's internal research studio for music generation called Harmonai, which was created by Zach Evans. Stable Audio works directly with raw audio samples for higher quality output. The model was trained on over 800,000 pieces of licensed music from audio library AudioSparks. [...]

As a diffusion model, Evans said that the Stable Audio model has approximately 1.2 billion parameters, which is roughly on par with the original release of Stable Diffusion for image generation. The text model used for prompts to generate audio was all built and trained by Stability AI. Evans explained that the text model is using a technique known as Contrastive Language Audio Pretraining (CLAP). As part of the Stable Audio launch, Stability AI is also releasing a prompt guide to help users with text prompts that will lead to the types of audio files that users want to generate. "Stable Audio will be available both for free and in a $12/month Pro plan," notes VentureBeat. "The free version allows 20 generations per month of up to 20 second tracks, while the Pro version increases this to 500 generations and 90 second tracks."

Star Trek: The Animated Series was a half-hour Saturday morning cartoon that premiered exactly one half century ago — yesterday. You can watch its opening credits sequence on YouTube — with its strange 1970s version of the theme song. CBS's YouTube channel also offers clips from various episodes.

Starting in 1973, it ran for two seasons — a total of just 22 episodes. But the BBC notes it kept Star Trek in people's minds after the original series had been cancelled in 1969: While The Original Series had struggled in the ratings during its initial run, the show thrived in syndication, and created the phenomenon of fan conventions (think Comic-con in the present day). Because of this, studios were interested in more Star Trek, but there was a problem: the sets had been scrapped, the costumes were gone, and it would have been cost-prohibitive to rebuild everything from scratch. NBC settled on a different approach: an animated series.

According to The Fifty-Year Mission by Mark Altman and Edward Gross (an oral history of Star Trek), Gene Roddenberry wasn't overly interested in an animated show in and of itself. However, he was willing to go along with it because he saw it as a stepping stone to another live-action show or a feature film. An animated show would energise fans, he thought, so he agreed on the condition that he would have full creative control of The Animated Series. After a fight, the network gave in. The full, regular cast returned, with the exception of Walter Koenig's Pavel Chekov, who was cut for budget reasons...

[I]t was very much conceived of as a continuation of The Original Series. Some of the episodes were direct sequels, such as More Tribbles, More Trouble, which is a continuation of the classic The Trouble with Tribbles, and featured the return of Cyrano Jones... [Another episode was a sequel to The City on the Edge of Forever.] Dorothy (DC) Fontana led a group of writers from the original show who mostly wrote for a traditional, adult Star Trek audience. That's why the show didn't catch on — while it was well-received by critics, it might have done better in prime time. The show won a Daytime Emmy for best children's series, but it was cancelled after two years because of low ratings. Roddenberry then moved on to work on another live-action series, called Phase II, which would eventually become Star Trek: The Motion Picture...

Whatever is decided regarding "the canon", The Animated Series sits firmly within Star Trek's guiding ethos: Gene Roddenberry's vision for a utopian future where humans coexist peacefully with aliens as part of a Federation, and there's no poverty or war.

Rotten Tomatoes celebrated its 25th year of assigning scores to movies based on their aggregate review. Now Vulture writes that Rotten Tomatoes "can make or break" movies, "with implications for how films are perceived, released, marketed, and possibly even green-lit". But unfortuately, the site "is also erratic, reductive, and easily hacked."

Vulture tells the story of a movie-publicity company contacting "obscure, often self-published critics" to say the film's teams "feel like it would benefit from more input from different critics" — while making undisclosed payments of $50 or more.) A critic asking if it's okay to pan the movie was informed that "super nice" critics move their bad reviews onto sites not included in Rotten Tomatoes scores.

Vulture says after bringing this to the site's attention, Rotten Tomatoes "delisted a number of the company's movies from its website and sent a warning to writers who reviewed them." But is there a larger problem? Filmmaker Paul Schrader even opines that "Audiences are dumber. Normal people don't go through reviews like they used to. Rotten Tomatoes is something the studios can game. So they do...." A third of U.S. adults say they check Rotten Tomatoes before going to the multiplex, and while movie ads used to tout the blurbage of Jeffrey Lyons and Peter Travers, now they're more likely to boast that a film has been "Certified Fresh...."

Another problem — and where the trickery often begins — is that Rotten Tomatoes scores are posted after a movie receives only a handful of reviews, sometimes as few as five, even if those reviews may be an unrepresentative sample. This is sort of like a cable-news network declaring an Election Night winner after a single county reports its results. But studios see it as a feature, since, with a little elbow grease, they can sometimes fool people into believing a movie is better than it is.

Here's how. When a studio is prepping the release of a new title, it will screen the film for critics in advance. It's a film publicist's job to organize these screenings and invite the writers they think will respond most positively. Then that publicist will set the movie's review embargo in part so that its initial Tomatometer score is as high as possible at the moment when it can have maximal benefits for word of mouth and early ticket sales... [I]n February, the Tomatometer score for Ant-Man and the Wasp: Quantumania debuted at 79 percent based on its first batch of reviews. Days later, after more critics had weighed in, its rating sank into the 40s. But the gambit may have worked. Quantumania had the best opening weekend of any movie in the Ant-Man series, at $106 million. In its second weekend, with its rottenness more firmly established, the film's grosses slid 69 percent, the steepest drop-off in Marvel history.

In studios' defense, Rotten Tomatoes' hastiness in computing its scores has made it practically necessary to cork one's bat. In a strategic blunder in May, Disney held the first screening of Indiana Jones and the Dial of Destiny at Cannes, the world's snootiest film festival, from which the first 12 reviews begot an initial score of 33 percent. "What they should've done," says Publicist No. 1, "was have simultaneous screenings in the States for critics who might've been more friendly." A month and a half later, Dial of Destiny bombed at the box office even though friendly critics eventually lifted its rating to 69 percent. "They had a low Rotten Tomatoes score just sitting out there for six weeks before release, and that was deadly," says a third publicist.

A new report says that a PR firm has been paying Rotten Tomatoes critics for positive reviews for over five years. From a report: Moviegoers, critics, and the average internet user have all used the aggregation site Rotten Tomatoes at one point or another. The website categorizes films and shows from "fresh" to "rotten," with rotten being those with lower ratings. Now it looks like the site's scores have been manipulated for more than five years. As noted by Vulture, it looks like a PR firm has manipulated movie scores on Rotten Tomatoes by paying the critics directly. This has been happening for years.

The PR firm, named Bunker 15, is said to pay as much as $50.00 for a single Rotten Tomatoes review. The payments, which aren't typically disclosed, are usually given to obscure critics who happen to be part of a pool tracked by Rotten Tomatoes. Though it's worth noting that the aggregation site's rules prohibit "Reviewing based on a financial incentive." Director Paul Schrader, also a critic, spoke out against Rotten Tomatoes which he says is part of a "broken" system. "The system is broken. Audiences are dumber. Normal people don't go through reviews like they used to. Rotten Tomatoes is something the studios can game. So they do." The site responded by delisting a variety of Bunker 15 films from their website. Furthermore, they issued a warning to any critics that reviewed them. The warning emphasizes that they do not tolerate manipulation on their platform.

Roku will cut more than 300 staffers -- laying off 10% of its workforce -- as the streaming-platform company continues its battle to control costs. From a report: In addition, Roku will remove certain licensed and owned content from its platform as part of a "strategic review of its content portfolio," resulting in an impairment charge of up to $65 million in the current quarter, the company disclosed in an SEC filing Wednesday. Other cost-cutting measures Roku outlined are consolidating office space and reducing outside services expenses.

The goal is to reduce year-over-year operating expense growth rate, the company said. The layoffs represent Roku's third round of job cuts in less than a year, after it pink-slipped 200 staffers in November 2022 and another 200 in March 2023. As of the end of 2022, Roku had approximately 3,600 full-time employees. The company, in addition to the layoffs, said it also plans to cut back on new hires.

An anonymous reader quotes a report from The Daily Beast: A Florida marathoner is facing federal charges after the U.S. Coast Guard spotted him 70 nautical miles off Tybee Island, Georgia on Aug. 26, in a homemade Hydro Pod, as Hurricane Franklin bore down on the Eastern Seaboard. Reza Baluchi claimed he was headed to London in the human-powered vessel, a hamster wheel-like contraption which a newly filed criminal complaint describes as being "afloat as a result of wiring and buoys." When Coast Guard officers told Baluchi they were cutting short his "manifestly unsafe" voyage, Baluchi threatened to kill himself with a 12-inch knife if anyone tried to apprehend him, and claimed to have a bomb aboard, which turned out to be fake, according to the complaint. Three days later, Baluchi -- who authorities have intercepted in his Hydro Pod at least three times previously -- finally surrendered, the complaint states. Baluchi made national news for a 2021 attempt to get from Florida to New York in the Hydro Pod, but washed ashore 25 miles later.

An anonymous reader quotes a report from TorrentFreak: Rick Klein and his team have been preserving TV adverts, forgotten tapes, and decades-old TV programming for years. Now operating as a 501(c)(3) non-profit, the Museum of Classic Chicago Television has called YouTube home since 2007. However, copyright notices sent on behalf of Sony, protecting TV shows between 40 and 60 years old, could shut down the project in 48 hours. "Our YouTube channel with 150k subscribers is in danger of being terminated by September 6th if I don't find a way to resolve these copyright claims that Markscan made," Klein told TorrentFreak on Friday. "At this point, I don't even care if they were issued under authorization by Sony or not -- I just need to reach a live human being to try to resolve this without copyright strikes. I am willing to remove the material manually to get the strikes reversed."

Over the weekend Klein shared details of the copyright complaints filed with YouTube. Two of the claims can be seen in the image below and on first view, appear straightforward enough. Two episodes of the TV series Bewitched dated 1964 aired on ABC Network and almost sixty years later, archive copies of those transmissions were removed from YouTube for violating Sony copyrights, with MCCTv receiving a strike. A claim targeting an upload titled Bewitched -- 'Twitch or Treat' -- WPWR Channel 60 (Complete Broadcast, 8/6/1984) follows the same pattern, but what isn't shown are the details added by MCCTv to place the episode (and the included commercials) in historical context. Another takedown target -- Bewitched -- 'Sam in the Moon' (Complete 16mm Network Print, 1/5/1967) is accompanied by even more detail, including references in the episode to then-current events.

Given that copyright law locks content down for decades, Klein understands that can sometimes cause issues, although 16 years on YouTube suggests that the overwhelming majority of rightsholders don't consider his channel a threat. If they did, the option to monetize the recordings can be an option. [...] Klein says MCCTv certainly doesn't set out to hurt copyright holders. However, there's always a balance between preserving "rare pieces of video ephemera" and the likelihood that nobody needs to enforce any rights, versus unusual circumstances like these where unexpected complaints need to be resolved with impossible-to-reach parties. Klein says the team is happy to comply with Sony's wishes and they hope that given a little leeway, the project won't be consigned to history. Perhaps Sony will recall the importance of time-shifting while understanding that time itself is running out for The Museum of Classic Chicago Television.

Apple will acquire the major Swedish classical music record label BIS Records, intending to fold it into Apple Music Classical and Platoon. MacRumors reports: BIS Records was founded in 1973 by Robert von Bahr. The label focuses on a range of classical music, with particular focus on works that are not well represented by existing recordings. It is an award-winning name in the world of classical music, acclaimed for its vast catalog and impressive audio quality. The label celebrates its 50th anniversary this week. The company announced its impending acquisition by Apple earlier today.

BIS is set to become a part of Apple Music Classical and the Apple-owned label Platoon. Apple acquired Platoon, a London-based A&R startup focused on discovering rising music artists, in 2018. In 2021, Apple announced that it had purchased the classical music streaming service Primephonic and would be folding it into Apple Music via a new app dedicated to the genre. Apple released the Apple Music Classical app in March. The app offers a simpler interface for interacting with classical music specifically. Unlike the main Apple Music app, Apple Music Classical allows users to search by composer, work, conductor, catalog number, and more. Users can get more detailed information from editorial notes and descriptions.

CNN reports that newspaper chain Gannett "has paused the use of an AI tool to write high school sports dispatches after the technology made several major flubs in articles in at least one of its papers." In one notable example, preserved by the Internet Archive's Wayback Machine, the story began: "The Worthington Christian [[WINNING_TEAM_MASCOT]] defeated the Westerville North [[LOSING_TEAM_MASCOT]] 2-1 in an Ohio boys soccer game on Saturday...." The reports were mocked on social media for being repetitive, lacking key details, using odd language and generally sounding like they'd been written by a computer with no actual knowledge of sports.

CNN identified several other local Gannett outlets, including the Louisville Courrier Journal, AZ Central, Florida Today and the Milwaukee Journal Sentinel, that have all published similar stories written by LedeAI in recent weeks. Many of the reports feature identical language, describing "high school football action," noting when one team "took victory away from" another and describing "cruise-control" wins. In many cases, the stories also repeated the date of the games being covered multiple times in just a few paragraphs.

Gannett has paused its experiment with LedeAI in all of its local markets that had been using the service, according to the company. The pause was earlier reported by Axios... The AI tool debacle comes after Gannett axed hundreds of jobs in December when it laid off 6% of its news division.
From Axios's report: One such Dispatch article from Aug. 18 was blasted on social media for its robotic style, lack of player names and use of awkward phrases like "close encounter of the athletic kind." "I feel like I was there!" The Athletic senior columnist Jon Greenberg posted sarcastically.
More from the Washington Post: Another story about a game between the Wyoming Cowboys and Ross Rams described a scoreboard that "was in hibernation in the fourth quarter." When Ayersville High School staged a late comeback in another game, a write-up of their win read: "The Pilots avoided the brakes and shifted into victory gear...."

In a statement, Gannett called the deployment of Lede AI an "experiment" in automation to aid its journalists and add content for readers... LedeAI CEO Jay Allred said in a statement to The Post that he believes automation is part of the future of local newsrooms and that LedeAI allows reporters and editors to focus on "journalism that drives impact in the communities they serve."

"Are you old enough to remember channel surfing?" asks long-time Slashdog reader MightyMait. "When there were only a handful of broadcast channels, it wasn't a big deal..." But when we got cable/satelite, one could spend inordinate amounts of time flipping through the channels looking for something decent to watch. Now, with the proliferation of streaming services...
Streaming viewers are now "spending a record 10.5 minutes per session deciding what to watch," according to TV Tech, citing a new study from the Nielsen-owned entertainment-data company Gracenote.

Their 2023 State of Play report "found that that there were 1.9 million video titles available to viewers in the U.S., U.K., Canada, Mexico and Germany in July 2021, a number that had swelled to 2.7 million titles by June 2023." Of the total count, a whopping 86.7% were available on streaming services. Compounding complexity, many popular shows now appear in multiple streaming catalogs, as the industry pivots from offering content exclusivity to broad distribution strategies that companies hope will balance massive streaming loses, the report noted. The Gracenote analysis also found that audiences now have nearly 40,000 individual FAST channels, streaming providers and aggregators to choose from.
The original submission from MightyMait asks Slashdot readers: "Are you feeling the pain? And if so, "What strategies do you employ to avoid this time suck?"

Share your own thoughts and experiences in the comments. And do streamers spend more time deciding what to watch?

The U.S. Department of Defense has launched a website collecting publicly available, declassified information on unidentified anomalous phenomena (UAPs). "For now, the general public will be able to read through the posted information," reports CNET. "Soon, US government employees, contractors, and service members with knowledge of US programs can report their own sightings, and later, others will be able to submit reports." From the report: "This website will provide information, including photos and videos, on resolved UAP cases as they are declassified and approved for public release," the department said in a release posted on Thursday. "The website's other content includes reporting trends and a frequently asked questions section as well as links to official reports, transcripts, press releases, and other resources that the public may find useful, such as applicable statutes and aircraft, balloon and satellite tracking sites."

For now, one of the most interesting parts of the site is its trends section. Apparently, most reported UAPs are round, either white, silver or translucent, spotted at around 10,000 to 30,000 feet, 1-4 meters in size, and do not emit thermal exhaust. Hotspots for sightings include both the US East and West coasts. There's also a small section of videos with names such as "DVIDS Video - Unresolved Case: Navy 2021 Flyby," and "UAP Video: Middle East Object." Readers are able to leave comments on the videos. Of the "Middle East Object" video, one person writes,"Noticed I never saw it cast a shadow. But other objects have shadows."

Spotify is cracking down on white-noise podcasters, reducing the advertising support for programmers that provide little more than soothing sounds like rain or chirping birds. From a report: In an email to creators Friday, the company highlighted changes to its Ambassador Ads program -- promotional spots for Spotify that podcasters read. The company pays hosts to read ads to encourage more creators to make shows and join the platform. As part of the change taking effect Oct. 1, white noise podcasters will no longer be eligible for such support, according to a person with knowledge of the matter. The company is also raising the audience threshold that conventional podcasters must meet to qualify for those ads to 1,000 unique Spotify listeners over the past 60 days from 100.

Timothy Geigner writes via Techdirt: Paramount has gone after fan-made works playing off of the franchise for years and years. Even Paramount's release of guidelines by which fans could create fan films served mostly as a giant middle finger to the fandom, so stringent were the rules. This apparently represents the owners of Star Trek's IP being completely deaf to the history of Star Trek and the internet and what the fans have meant to the franchise. And this all continued into the present day.

Recently, a fan-made project called Wolf 359 Project suffered a DMCA takedown from Paramount. If you're a Next Generation fan, that name will likely sound familiar: "The Battle of Wolf 359 hearkens to a classic The Next Generation two-episode event called 'The Best of Both Worlds.' Captain Picard is assimilated by the Borg, and before the Enterprise crew rescues him, the relentless Borg forces fight a battle that kills 11,000 people. Star Trek: Picard Season 3 dealt with this, specifically through the character of Captain Liam Shaw. It was the first time someone described the Starfleet experience during one of the costliest battles in Star Trek history. Star Trek fans are never one to let a good idea go to waste, and The Wolf 359 Project is a fan-written oral history of the battle. The 'book' ran over 500 pages long, and its authors were giving it away for free. However, Paramount issued a Digital Millennium Copyright Act strike against it."

So here's what this essentially is: fans who love TNG filling in the gaps of the original story they love with the unexplored rest of the universe of people who would have been impacted by that storyline. That's important for two reasons. First and foremost, this doesn't take anything away from Paramount's Star Trek production, and in fact does the opposite. The project doesn't replace the original episodes, but rather builds upon them. In other words, this project could only possibly serve to draw more interest to Paramount's product, since the book isn't going to make much sense to anyone who hasn't seen the original episodes. Second, this is a work being done for free, given away for free, all by fans that are doing what Star Trek fans have always done: create. [...] ]