An anonymous reader quotes a report from TorrentFreak: Hikari-no-Akari, a long-established and popular pirate site that specializes in Japanese music, is being targeted in U.S. federal court by Sony Music. [...] The music download portal, which links to externally hosted files, has been operating for well over a decade and currently draws more than a million monthly visits. In addition to the public-facing part of the site, HnA also has a private forum and Discord channel. [...] Apparently, Sony Music Japan has been keeping an eye on the unauthorized music portal. The company has many of its works shared on the site, including anime theme music, which is popular around the globe.

For example, a few weeks ago, HnA posted "Sayonara, Mata Itsuka!" from the Japanese artist Kenshi Yonezu, which is used as the theme song for the asadora series "The Tiger and Her Wings." Around the same time, PEACEKEEPER, a song by Japanese musician STEREO DIVE FOUNDATION, featured in the third season of the series "That Time I Got Reincarnated as a Slime", was shared on the site. Sony Music Japan is a rightsholder for both these tracks, as well as many others that were posted on the site. The music company presumably tried to contact HnA directly to have these listings removed and reached out to its CDN service Cloudflare too, asking it to take action. [...] They are a prerequisite for obtaining a DMCA subpoena, which Sony Music Japan requested at a California federal court this week.

Sony requested two DMCA subpoenas, both targeted at hikarinoakari.com and hnadownloads.co. The latter domain receives the bulk of its traffic from the first, which isn't a surprise considering the 'hnadownloads' name. Through the subpoena, the music company hopes to obtain additional information on the people behind these sites. That includes, names, IP-addresses, and payment info. Presumably, this will be used for follow-up enforcement actions. It's unclear whether Cloudflare will be able to hand over any usable information and for the moment, HnA remains online. Several of the infringing URLs that were identified by Sony have recently been taken down, including this one. However, others remain readily available. The same applies to private forum threads and Discord postings, of course.

Netflix is following through on its plan to phase out its cheapest ad-free tier for existing subscribers. From a report: As spotted in numerous posts on Reddit, Netflix is now asking some basic plan subscribers to choose a new plan to stay subscribed to Netflix. One Reddit user received a notification on their Netflix app, saying "Your last day to watch Netflix is July 13th. Choose a new plan to keep watching." Subscribers paying $11.99 / month for the basic plan will have to choose either the $6.99 ad-supported tier, the $15.49 ad-free tier, or the $22.99 ad-free 4K premium plan.

Chicken Soup for the Soul Entertainment, the parent of DVD rental operator Redbox, has filed for Chapter 11 bankruptcy protection after months of financial struggles and piling unpaid bills. The Associated Press reports: Chicken Soup for the Soul has accumulated nearly $1 billion in debt, the Chapter 11 filing submitted Friday in Delaware bankruptcy court shows, after reporting loss after loss over recent quarters. The filing also discloses that Chicken Soup for the Soul owes millions to over 500 creditors -- which range from big names in the entertainment world like Sony Pictures and Warner Bros, to major retailers like Walgreens and Walmart. As of March of this year, Friday's filing shows, Chicken Soup for the Soul had about $414 million in assets and $970 million in debts. Shares for the public company have fallen more than 90% over the last year. "Redbox, founded in 2002, is best known for red-colored, self-serve machines that sit outside of pharmacies or groceries stores to rent or sell DVDs," notes the report. It was acquired by Chicken Soup for the Soul in 2022. There are currently about 27,000 Redbox kiosks across the U.S. -- down from 36,000 at the Redbox acquisition was finalized in August 2022.

It's been adapted into a graphic novel, a videogame, a radio play, and an opera, according to Wikipedia — which also describes years of trying to adapt Neuromancer into a movie. "The landmark 1984 cyberpunk novel has been on Hollywood's wishlist for decades," writes Gizmodo, "with multiple filmmakers attempting to bring it to the big screen." (Back in 2010, Slashdot's CmdrTaco even posted an update with the headline "Neuromancer Movie In Your Future?" with a 2011 story promising the movie deal was "moving forward....")

But now Deadline reports it's becoming a 10-episode series on Apple TV+ (co-produced by Apple Studios) starring Callum Turner and Brianna Middleton: Created for television by Graham Roland and JD Dillard, Neuromancer follows a damaged, top-rung super-hacker named Case (Turner) who is thrust into a web of digital espionage and high stakes crime with his partner Molly (Middleton), a razor-girl assassin with mirrored eyes, aiming to pull a heist on a corporate dynasty with untold secrets.
More from Gizmodo: "We're incredibly excited to be bringing this iconic property to Apple TV+," Roland and Dillard said in a statement. "Since we became friends nearly 10 years ago, we've looked for something to team up on, so this collaboration marks a dream come true. Neuromancer has inspired so much of the science fiction that's come after it and we're looking forward to bringing television audiences into Gibson's definitive 'cyberpunk' world."
The novel launched Gibson's "Sprawl" trilogy of novels (building on the dystopia in his 1982 short story "Burning Chrome"), also resurrecting the "Molly Millions" character from Johnny Mnemonic — an even earlier short story from 1981...

Lego teamed up with the European Space Agency to make Lego pieces from actual meteorite dust, writes Engadget.

"It's a proof of concept to show how astronauts could use moondust to build lunar structures." Consider the sheer amount of energy and money required to haul up building materials from Earth to the Moon. It would be a game changer to, instead, build everything from pre-existing lunar materials. There's a layer of rock and mineral deposits at the surface of the Moon, which is called lunar regolith...

However, there isn't too much lunar regolith here on Earth for folks to experiment with. ESA scientists made their own regolith by grinding up a really old meteorite. [4.5 billion years, according to Lego's site, discovered in Africa in 2000.] The dust from this meteorite was turned into a mixture that was used to 3D print the Lego pieces. Voila. Moon bricks. They click together just like regular Lego bricks, though they only come in one color (space gray obviously.)
"The result is amazing," says ESA Science Officer Aidan Cowley on the Lego site (though "the bricks may look a little rougher than usual. Importantly the clutch power still works, enabling us to play and test our designs.")

"Nobody has built a structure on the Moon," Cowley said in an ESA statement. "So it was great to have the flexibility to try out all kinds of designs and building techniques with our space bricks." And the bricks will also be "helping to inspire the next generation of space engineers," according to the ESA's announcement — since they'll be on display in select Lego stores in the U.S., Canada, the U.K., Spain, France, Germany, the Netherlands, and Australia through September 20th.

An anonymous reader shares a report: If you've been mindlessly scrolling through streaming services and have been feeling even less enthused than usual, you may not be entirely to blame: almost all major US streamers have been cutting their original TV output this year, according to new analysis (paywalled) from Variety.

From content monolith Netflix, which released 203 original shows in the first half of 2023 compared with 174 in H1 '24, to Disney+, which has halved its already-slim original TV library as it continues an apparent shift to quality over quantity, shrinkage has hit the streaming world hard. Indeed, of the 8 major streamers Variety studied from Luminate data, only Max and Peacock maintained their output level year over year. All told, the number of original seasons fell 19% at the 8 streamers tracked.

YouTube is negotiating with major record labels to license songs for AI tools that clone popular artists' music, according to Financial Times. The Google-owned platform is offering upfront payments to Sony, Warner, and Universal to secure rights for training AI software, aiming to launch new features this year. But there are roadblocks to the deal, the story adds: However, many artists remain fiercely opposed to AI music generation, fearing it could undermine the value of their work. Any move by a label to force their stars into such a scheme would be hugely controversial. [...]

YouTube last year began testing a generative AI tool that lets people create short music clips by entering a text prompt. The product, initially named "Dream Track," was designed to imitate the sound and lyrics of well-known singers. But only 10 artists agreed to participate in the test phase, including Charli XCX, Troye Sivan and John Legend, and Dream Track was made available to a just small group of creators.

Researchers from UC Santa Cruz, UC Davis, LuxiTech, and Soochow University have developed a new method to run AI language models more efficiently by eliminating matrix multiplication, potentially reducing the environmental impact and operational costs of AI systems. Ars Technica's Benj Edwards reports: Matrix multiplication (often abbreviated to "MatMul") is at the center of most neural network computational tasks today, and GPUs are particularly good at executing the math quickly because they can perform large numbers of multiplication operations in parallel. [...] In the new paper, titled "Scalable MatMul-free Language Modeling," the researchers describe creating a custom 2.7 billion parameter model without using MatMul that features similar performance to conventional large language models (LLMs). They also demonstrate running a 1.3 billion parameter model at 23.8 tokens per second on a GPU that was accelerated by a custom-programmed FPGA chip that uses about 13 watts of power (not counting the GPU's power draw). The implication is that a more efficient FPGA "paves the way for the development of more efficient and hardware-friendly architectures," they write.

The paper doesn't provide power estimates for conventional LLMs, but this post from UC Santa Cruz estimates about 700 watts for a conventional model. However, in our experience, you can run a 2.7B parameter version of Llama 2 competently on a home PC with an RTX 3060 (that uses about 200 watts peak) powered by a 500-watt power supply. So, if you could theoretically completely run an LLM in only 13 watts on an FPGA (without a GPU), that would be a 38-fold decrease in power usage. The technique has not yet been peer-reviewed, but the researchers -- Rui-Jie Zhu, Yu Zhang, Ethan Sifferman, Tyler Sheaves, Yiqiao Wang, Dustin Richmond, Peng Zhou, and Jason Eshraghian -- claim that their work challenges the prevailing paradigm that matrix multiplication operations are indispensable for building high-performing language models. They argue that their approach could make large language models more accessible, efficient, and sustainable, particularly for deployment on resource-constrained hardware like smartphones. [...]

The researchers say that scaling laws observed in their experiments suggest that the MatMul-free LM may also outperform traditional LLMs at very large scales. The researchers project that their approach could theoretically intersect with and surpass the performance of standard LLMs at scales around 10^23 FLOPS, which is roughly equivalent to the training compute required for models like Meta's Llama-3 8B or Llama-2 70B. However, the authors note that their work has limitations. The MatMul-free LM has not been tested on extremely large-scale models (e.g., 100 billion-plus parameters) due to computational constraints. They call for institutions with larger resources to invest in scaling up and further developing this lightweight approach to language modeling.

MTVNews.com has been shut down, with more than two decades' worth of content no longer available. "Content on its sister site, CMT.com, seems to have met a similar fate," adds Variety. From the report: In 2023, MTV News was shuttered amid the financial woes of parent company Paramount Global. As of Monday, trying to access MTV News articles on mtvnews.com or mtv.com/news resulted in visitors being redirected to the main MTV website.

The now-unavailable content includes decades of music journalism comprising thousands of articles and interviews with countless major artists, dating back to the site's launch in 1996. Perhaps the most significant loss is MTV News' vast hip-hop-related archives, particularly its weekly "Mixtape Monday" column, which ran for nearly a decade in the 2000s and 2010s and featured interviews, reviews and more with many artists, producers and others early in their careers. "So, mtvnews.com no longer exists. Eight years of my life are gone without a trace," Patrick Hosken, former music editor for MTV News, wrote on X. "All because it didn't fit some executives' bottom lines. Infuriating is too small a word."

"sickening (derogatory) to see the entire @mtvnews archive wiped from the internet," Crystal Bell, culture editor at Mashable and one-time entertainment director of MTV News, posted on X."decades of music history gone... including some very early k-pop stories."

"This is disgraceful. They've completely wiped the MTV News archive," longtime Rolling Stone senior writer Brian Hiatt commented. "Decades of pop culture history research material gone, and why?"

The report notes that some MTV News articles may be available via internet archiving services like the Wayback Machine. However, older articles aren't available.

An anonymous reader shares a report: We're at a transitional moment in streaming -- user growth is slowing and major players are looking to consolidate, but the long-promised dream of profitability finally seems within reach (especially if you're Netflix). The perfect time, then, for The New York Times to interview many of the industry's big names -- including Netflix co-CEO Ted Sarandos, Amazon's Prime Video head Mike Hopkins, and IAC chairman Barry Diller -- about what they think comes next.

There seemed to be broad agreement on most of the big themes: More ads, higher prices, and fewer big swings on prestige TV. These changes are all united by the shift towards profitability, rather than growth-at-all-costs. If the initial prices of many streaming services seemed unsustainably low at launch, it turns out they were -- prices have been steadily rising, while the streamers have also introduced more affordable subscription tiers for viewers who are willing to watch ads. In fact, some execs told The Times that streamers will keep raising prices for the ad-free tiers with the aim of pushing more customers to sign up for ad-supported subscriptions instead. The growth of ad-supported streaming could also affect the kinds of movies and shows that get produced, since advertisers generally want to reach a mass audience -- think of the heyday of ad-supported network TV, with its endless shows about doctors and cops, compared to the more ambitious fare on subscription-supported HBO.

A group of record labels including the big three -- Universal Music Group (UMG), Sony Music Entertainment, and Warner Records -- are suing two of the top names in generative AI music making, alleging the companies violated their copyright "en masse." From a report: The two AI companies, Suno and Udio, use text prompts to churn out original songs. Both companies have enjoyed a level of success: Suno is available for use in Microsoft Copilot though a partnership with the tech giant. Udio was used to create "BBL Drizzy," one of the more notable examples of AI music going viral.

The case against Suno was filed in Boston federal court, and the Udio case was filed in New York. The labels say artists across genres and eras had their work used without consent. The lawsuits were brought by the Recording Industry Association of America (RIAA), the powerful group representing major players in the music industry, and a group of labels. The RIAA is seeking damages of up to $150,000 per work, along with other fees.

The Roddenberry Foundation — named for Star Trek creator Gene Roddenberry — "announced Tuesday that this year's biennial award would focus on artificial intelligence that benefits humanity," reports the Los Angeles Times: Lior Ipp, chief executive of the foundation, told The Times there's a growing recognition that AI is becoming more ubiquitous and will affect all aspects of our lives. "We are trying to ... catalyze folks to think about what AI looks like if it's used for good," Ipp said, "and what it means to use AI responsibly, ethically and toward solving some of the thorny global challenges that exist in the world...."

Ipp said the foundation shares the broad concern about AI and sees the award as a means to potentially contribute to creating those guardrails... Inspiration for the theme was also borne out of the applications the foundation received last time around. Ipp said the prize, which is "issue-agnostic" but focused on early-stage tech, produced compelling uses of AI and machine learning in agriculture, healthcare, biotech and education. "So," he said, "we sort of decided to double down this year on specifically AI and machine learning...."

Though the foundation isn't prioritizing a particular issue, the application states that it is looking for ideas that have the potential to push the needle on one or more of the United Nations' 17 sustainable development goals, which include eliminating poverty and hunger as well as boosting climate action and protecting life on land and underwater.
The Foundation's most recent winner was Sweden-based Elypta, according to the article, "which Ipp said is using liquid biopsies, such as a blood test, to detect cancer early."

"We believe that building a better future requires a spirit of curiosity, a willingness to push boundaries, and the courage to think big," said Rod Roddenberry, co-founder of the Roddenberry Foundation. "The Prize will provide a significant boost to AI pioneers leading these efforts." According to the Foundation's announcement, the Prize "embodies the Roddenberry philosophy's promise of a future in which technology and human ingenuity enable everyone — regardless of background — to thrive."

"By empowering entrepreneurs to dream bigger and innovate valiantly, the Roddenberry Prize seeks to catalyze the development of AI solutions that promote abundance and well-being for all."

Universal Music Group has partnered with AI startup SoundLabs to offer voice modeling technology to its artists. The MicDrop feature, launching this summer, will allow UMG artists to create and control their own AI voice models. The tool includes voice-to-instrument functionality and language transposition capabilities. RollingStone adds: AI voice clones have become perhaps the most well-known -- and often the most controversial -- use of artificial intelligence in the music business. Viral tracks with AI vocals have spurred legislation to protect artists' virtual likenesses and rights of publicity.

Last year, an anonymous songwriter named Ghostwriter went viral with his song "Heart On My Sleeve," which featured AI-generated vocals of UMG artists Drake and The Weeknd. The song was pulled from streaming services days later following mounting pressure from the record company. Ironically, Drake got caught in a voice cloning controversy of his own a year later when he used a Tupac voice clone on his Kendrick Lamar diss track "Taylor Made Freestyle." Tupac's estate hit the rapper with a cease-and-desist in April, and the song was subsequently taken down.

Roku TV owners are complaining that motion smoothing is "suddenly enabled on their TVs with no way to turn it off," reports The Verge. From the report: Contributors on Reddit and in Roku's community forum reported seeing the change on TCL TVs running on Roku OS 13, as did a few staffers on The Verge. However, for others who have access to "Expert" picture settings, the same update is in place without a change, and the settings to control it are still available. For some people experiencing the problem, they said this is the first time their TV offered Roku's motion smoothing feature at all and that there's nowhere in any menu (either the standard settings or the picture settings available while watching TV) to turn it off. The update notes for Roku OS 13 mention a new "Roku Smart Picture" feature that will optimize based on the content being watched, so there may be a bug there. However, people in older threads have reported similar issues with some Roku devices before.

A Roku community moderator responded on the forum that the team is looking into the incident. Roku also offered its typical instructions for disabling the settings, which involves clicking the Star button on the remote during playback and heading to the Action Smoothing submenu under Advanced Picture Settings. [...] Naturally, a lot of people who work in film and television aren't a fan. Star Wars: The Last Jedi director Rian Johnson once went so far as to say it makes "movies look like liquid diarrhea."

Hollywood actor and venture capitalist Ashton Kutcher believes that one day, entire movies will be made on AI tools like OpenAI's Sora. From a report: The actor was speaking at an event last week organized by the Los Angeles-based think tank Berggruen Institute, where he revealed that he'd been playing around with the ChatGPT maker's new video generation tool. "I have a beta version of it and it's pretty amazing," said Kutcher, whose VC firm Sound Venture's portfolio includes an investment in OpenAI. "You can generate any footage that you want. You can create good 10, 15-second videos that look very real."

"It still makes mistakes. It still doesn't quite understand physics. But if you look at the generation of this that existed one year ago, as compared to Sora, it's leaps and bounds. In fact, there's footage in it that I would say you could easily use in a major motion picture or a television show," he continued. Kutcher said this would help lower the costs of making a film or television show. "Why would you go out and shoot an establishing shot of a house in a television show when you could just create the establishing shot for $100?" Kutcher said. "To go out and shoot it would cost you thousands of dollars,"

Kutcher was so bullish about AI advancements that he said he believed people would eventually make entire movies using tools like Sora. "You'll be able to render a whole movie. You'll just come up with an idea for a movie, then it will write the script, then you'll input the script into the video generator, and it will generate the movie," Kutcher said. Kutcher, of course, is no stranger to AI.

TorrentFreak's Ernesto Van der Sar recalls the rise and fall of Napster, the file-sharing empire that kickstarted a global piracy frenzy 25 years ago. Here's an excerpt from his report: At the end of the nineties, technology and the Internet were a playground for young engineers and 'hackers'. Some of them regularly gathered in the w00w00 IRC chatroom on the EFnet network. This tech-think-tank had many notable members, including WhatsApp founder Jan Koum and Shawn Fanning, who logged on with the nickname Napster. In 1998, 17-year-old Fanning shared an idea with the group. 'Napster' wanted to create a network of computers that could share files with each other. More specifically, a central music database that everyone in the world could access.

This idea never left the mind of the young developer. Fanning stopped going to school and flanked by his friend Sean Parker, devoted the following months to making his vision a reality. That moment came on June 1, 1999, when the first public release of Napster was released online. Soon after, the software went viral. Napster was quickly embraced by millions of users, who saw the software as something magical. It was a gateway for musical exploration, one that dwarfed even the largest record stores in town. And all for free. It sounds mundane today, but some equated it to pure technological sorcery. For many top players in the music industry, Napster's sorcery was pure witchcraft. At the time, manufacturing CDs with high profit margins felt like printing money and Napster's appearance threatened to ruin the party. [...]

At the start of 2001, Napster's user base reached a peak of more than 26.4 million worldwide. Yet, despite huge growth and backing from investors, the small file-sharing empire couldn't overcome the legal challenges. The RIAA lawsuit resulted in an injunction from the Ninth Circuit Court, which ordered the network to shut down. This happened during July 2001, little more than two years after Napster launched. By September that year, the case had been settled for millions of dollars. While the Napster craze was over, file-sharing had mesmerized the masses and the genie was out of the bottle. Grokster, KaZaa, Morpheus, LimeWire, and many others popped up and provided sharing alternatives, for as long as they lasted. Meanwhile, BitTorrent was also knocking on the door. "Napster paved the way for Apple's iTunes store, to serve the demand that was clearly there," notes Ernesto. "This music streaming landscape was largely pioneered by a Napster 'fan' from Sweden, Daniel Ek."

"Like many others, Ek was fascinated by the 'all you can play' experience offered by file-sharing software, and that planted the seeds for the music streaming startup Spotify, where he still serves as CEO today. In fact, Spotify itself used file-sharing technology under the hood to ensure swift playback."

An anonymous reader shares a CR report: Based on the name, you'd think Filmmaker Mode is strictly for watching movies. But in our labs, we find that it can get you pretty close to what we consider to be the ideal settings for all types of programming. Filmmaker Mode is the product of a joint effort by the Hollywood film community, TV manufacturers, and the UHD Alliance to help consumers easily set up their TVs and watch shows and films as they were meant to be displayed. The preset has been widely praised by a host of well-known directors, including J.J. Abrams, Paul Thomas Anderson, James Cameron, Patty Jenkins, Rian Johnson, Christopher Nolan, Jordan Peele, and Martin Scorsese, as well as actors such as Tom Cruise. Right now, you can find Filmmaker Mode on TVs from Hisense, LG, Philips, Samsung, and Vizio. And more sets may get the feature this year.

Most newer TVs have fancy features that manufacturers say will improve the picture. But these features can actually have the opposite effect, degrading the fidelity of the image by altering how it was originally intended to look. To preserve the director's original intent, Filmmaker Mode shuts off all the extra processing a TV might apply to movies and shows, including both standard (SDR) and high dynamic range (HDR) content on 4K TVs. This involves preserving the TV's full contrast ratio, setting the correct aspect ratio, and maintaining the TV's color and frame rates, so films look more like what you'd see in a theater. For most of us, though, the biggest benefit of Filmmaker Mode is what the TV won't be doing. For example, it turns off motion smoothing, also referred to as motion interpolation, which can remove movies' filmlike look. (This is one of three TV features that it's best to stop using.) Motion-smoothing features were introduced because most films, and some TV shows, are shot at 24 frames per second, while most TVs display images at 60 or 120 frames per second. To deal with these mismatches, the TV adds made-up (interpolated) frames, filling in the gaps to keep the motion looking smooth. But this creates an artificial look, commonly called the soap opera effect. Think of a daytime TV show shot on video.

If you contact Spotify's customer service with a valid receipt, the company will refund your Car Thing purchase. That's the latest development reported by Engadget. When Spotify first announced that it would brick every Car Thing device on December 9, 2024, it said that it wouldn't offer owners any subscription credit or automatic refund. From the report: Spotify has taken some heat for its announcement last week that it will brick every Car Thing device on December 9, 2024. The company described its decision as "part of our ongoing efforts to streamline our product offerings" (read: cut costs) and that it lets Spotify "focus on developing new features and enhancements that will ultimately provide a better experience to all Spotify users."

TechCrunch reports that Gen Z users on TikTok have expressed their frustration in videos, while others have complained directed toward Spotify in DMs on X (Twitter) and directly through customer support. Some users claimed Spotify's customer service agents only offered several months of free Premium access, while others were told nobody was receiving refunds. It isn't clear if any of them contacted them after last Friday when it shifted gears on refunds.

Others went much further. Billboard first reported on a class-action lawsuit filed in the US District Court for the Southern District of New York on May 28. The suit accuses Spotify of misleading Car Thing customers by selling a $90 product that would soon be obsolete without offering refunds, which sounds like a fair enough point. It's worth noting that, according to Spotify, it began offering the refunds last week, while the lawsuit was only filed on Tuesday. If the company's statement about refunds starting on May 24 is accurate, the refunds aren't a direct response to the legal action. (Although it's possible the company began offering them in anticipation of lawsuits.) Editor's note: As a disgruntled Car Thing owner myself, I can confirm that Spotify is approving refund requests. You'll just have to play the waiting game to get through to a Spotify Advisor and their "team" that approves these requests. You may have better luck emailing customer service directly at support@spotify.com.

Space.com calls it a movie "adding more combustible material to the inferno of AI unease sweeping the globe." Its director tells them James Cameron was a huge inspiration, saying Atlas "has an Aliens-like vibe because of the grounded, grittiness to it." (You can watch the movie's trailer here...)

But Tom's Guide says "the reviews are just as shocking as the movie's AI." Its "audience score" on Rotten Tomatoes is 55% — but its aggregate score from professional film critics is 16%. The Hollywood Reporter called it "another Netflix movie to half-watch while doing laundry." ("The star plays a data analyst forced to team up with an AI robot in order to prevent an apocalypse orchestrated by a different AI robot...") The site Giant Freakin Robot says "there seems to be a direct correlation between how much money the streaming platform spends on green screen effects and how bad the movie is" (noting the film's rumored budget of $100 million)...

But Tom's Guide defends it as a big-budget sci-fi thriller that "has an interesting premise that makes you think about the potential dangers of AI progression." Our world has always been interested in computers and machines, and the very idea of technology turning against us is unsettling. That's why "Atlas" works as a movie, but professional critics have other things to say. Ross McIndoe from Slant Magazine said: "Atlas seems like a story that should have been experienced with a gamepad in hand...." Todd Gilchrist from Variety didn't enjoy the conventional structure that "Atlas" followed...

However, even though the score is low and the reviews are pretty negative, I don't want to completely bash this movie... If I'm being completely honest, most movies and TV shows nowadays are taken too seriously. The more general blockbusters are supposed to be entertaining and fun, with visually pleasing effects that keep you hooked on the action. This is much like "Atlas", which is a fun watch with an unsettling undertone focused on the dangers of evolving AI...

Being part of the audience, we're supposed to just take it in and enjoy the movie as a casual viewer. This is why I think you should give "Atlas" a chance, especially if you're big into dramatic action sequences and have enjoyed movies like "Terminator" and "Pacific Rim".

Spotify is about to render its Car Thing dashboard accessory inoperable on December 9th. Not only is the company refusing to open-source the device, it won't offer owners any subscription credit or automatic refund. "Rather, it's just canning the project and telling people to (responsibly) dispose of Car Thing," reports The Verge. From the report: "We're discontinuing Car Thing as part of our ongoing efforts to streamline our product offerings," Spotify wrote in an FAQ on its website. "We understand it may be disappointing, but this decision allows us to focus on developing new features and enhancements that will ultimately provide a better experience to all Spotify users."

The company is recommending that customers do a factory reset on the product and find some way of responsibly recycling the hardware. Spotify is also being direct and confirming that there's little reason to ever expect a sequel. "As of now, there are no plans to release a replacement or new version of Car Thing," the FAQ reads. Car Thing went on sale to the public in early 2022 for $90. Spotify halted production several months later "based on several factors, including product demand and supply chain issues."

At the time, the company said: "Existing devices will perform as intended."

UPDATE 5/30/24: Spotify Says It Will Refund Car Thing Purchases