Harvard professor Avi Loeb believes he may have found fragments of alien technology from a meteor that landed in the waters off of Papua, New Guinea in 2014. CBS News reports: Loeb and his team just brought the materials back to Harvard for analysis. The U.S. Space Command confirmed with almost near certainty, 99.999%, that the material came from another solar system. The government gave Loeb a 10 km (6.2 mile) radius of where it may have landed. "That is where the fireball took place, and the government detected it from the Department of Defense. It's a very big area, the size of Boston, so we wanted to pin it down," said Loeb. "We figured the distance of the fireball based off the time delay between the arrival of blast wave, the boom of explosion, and the light that arrived quickly."

Their calculations allowed them to chart the potential path of the meteor. Those calculations happened to carve a path right through the same projected 10 km range that came from the U.S. government. Loeb and his crew took a boat called the Silver Star out to the area. The ship took numerous passes along and around the meteor's projected path. Researchers combed the ocean floor by attaching a sled full of magnets to their boat. "We found ten spherules. These are almost perfect spheres, or metallic marbles. When you look at them through a microscope, they look very distinct from the background," explained Loeb, "They have colors of gold, blue, brown, and some of them resemble a miniature of the Earth."

An analysis of the composition showed that the spherules are made of 84% iron, 8% silicon, 4% magnesium, and 2% titanium, plus trace elements. They are sub-millimeter in size. The crew found 50 of them in total. "It has material strength that is tougher than all space rock that were seen before, and catalogued by NASA," added Loeb, "We calculated its speed outside the solar system. It was 60 km per second, faster than 95% of all stars in the vicinity of the sun. The fact that it was made of materials tougher than even iron meteorites, and moving faster than 95% of all stars in the vicinity of the sun, suggested potentially it could be a spacecraft from another civilization or some technological gadget." He likens the situation to any of the Voyager spacecrafts launched by NASA.

Jony Ive has been busy since leaving Apple, with his design agency working on things like a typeface, a charity clown nose and "the future of Airbnb." LoveFrom's latest project takes Ive back to his hardware days -- it's a new model of a modular turntable that's been around for half a century. From a report: LoveFrom helped refine Linn's Sondek LP12 for a 50th anniversary edition. Ive told Fast Company it was a "very gentle and modest project" for LoveFrom that stems from his team's admiration for Linn. Perhaps as a result of that, LoveFrom carried out the work pro bono. "There are many things that I've always wanted to be able to do purely for the love of doing them," Ive noted.

The design firm approached Linn about working together, in part because Ive is a long-time fan of the brand. The two teams examined every aspect of the LP12 but couldn't change the turntable very much owing to concerns over impact to the sound quality. Still, LoveFrom "saw a number of areas where there could be small improvements and gentle evolutions of the current design," Ive said. [...] If you're interested in owning the first post-Apple hardware that Ive worked on, you'll have to dig deep into your pockets. The Sondek LP12-50 costs $60,000 and Linn is only making 250 of them.

Tessa Kaur, writing at The Gamer: This week, Disney removed a film called Crater from Disney Plus, which had been released on May 12, 2023. This means it was on the streaming platform for just 48 days, or about seven weeks. Disney hasn't said why, but it seems most likely that it didn't perform well enough and the company decided to remove it to write down the value of its "content assets," therefore lowering their taxes. It's all about the money, and always has been, and there are unfortunate consequences that come with this.

Disney isn't the only streamer that's guilty of this -- every streaming service, including Netflix and HBO Max (now just Max), has taken shows and movies off their platforms without warning. Willow was cancelled and removed from Disney, as was the well-loved Single Drunk Female from Hulu. HBO pulled Westworld and Snowpiercer. Grease: Rise of the Pink Ladies was cancelled and pulled from Paramount Plus just last month. It seems like anything could be pulled at any time, and that sucks.

It's bad enough that streaming services are cancelling shows left and right because they don't meet arbitrary sales targets, but when they are pulled from these platforms, many of them disappear forever. A lot of these shows are made for streaming, never aired on cable, and were never physically released. Bigger prestige shows like Westworld and Snowpiercer appeared on cable originally and are more likely to have Blu-ray releases, but those Disney shows are gone. There is no legal way to watch them anymore, and these companies are not interested in even selling you access.

An anonymous reader shares a report: Last month, the Recording Academy announced a series of changes to the Grammy Awards to better reflect an evolving music industry. Of those newly instituted guidelines, protocols involving technological advancements in machine learning sparked headlines: "Only human creators" could win the music industry's highest honor in a decision aimed at the use of artificial intelligence in popular music. "A work that contains no human authorship is not eligible in any category," the rules read in part. As the music industry continues to come to terms with this new technology, so too will the Grammys, says Recording Academy CEO and President Harvey Mason jr. "Here's the super easy, headline statement: AI, or music that contains AI-created elements is absolutely eligible for entry and for consideration for Grammy nomination. Period," Mason told The Associated Press. "What's not going to happen is we are not going to give a Grammy or Grammy nomination to the AI portion."

If an AI or voice modeling program performs the lead vocal on a song, the track would be eligible in a songwriting category, for example, but not a performance category, because what is performing is not human creation, he explains. Conversely, if a song was sung by an actual human in the studio, and they did all the performing, but AI wrote the lyric or the track, the song would not be eligible in a composition or a songwriting category... As long as the human is contributing in a more than de minimis amount, which to us means a meaningful way, they are and will always be considered for a nomination or a win," he continued. "We don't want to see technology replace human creativity. We want to make sure technology is enhancing, embellishing, or additive to human creativity. So that's why we took this particular stand in this award cycle."

Consumers are winning from the streaming revolution but across most of Hollywood, the businesses churning out TV and movies are losing. From a report: Services such as Netflix, Disney+, Paramount+ and Max have become the default entertainment options for homes across America rather than cable, saving many consumers money. For the titans of Hollywood, that shift has been costly. Traditional media and entertainment companies have reported losses of more than $20 billion combined since early 2020 on their direct-to-consumer streaming businesses. Netflix, which brings in profits, is an exception, but the rest of the industry is wondering: While consumers love streaming, is it actually a good business?

Investors now care about profitability rather than growth, a change that makes finding new revenue streams and retaining customers critical. Studios that for years were able to splurge on content to feed viewers' insatiable appetite for new shows and films now must pull back to make the math work. The ad market is weakening, many companies have laid off staff to save money and Hollywood writers are on strike. Market values for Paramount Global, Comcast, Walt Disney and Netflix are down more than $280 billion combined since the end of 2020. Warner Bros. Discovery is worth about half of its total value since its 2022 trading debut as a combined company. The declines have come after many of the stocks rose during the early part of the pandemic, when consumers were stuck at home and hungry for entertainment.

"In a 2022 survey of 1,200 people, language learning company Preply determined that 50% of Americans used subtitles and closed captions the vast majority of the time they watch content," writes IndieWire.

They delve into the reasons why so many people want to read dialogue: The first is that, for a lot of people, it's become a lot harder to understand dialogue on the TV. That's the top reason cited in the Preply survey, with nearly 72% of respondents who use closed captions marking that as one of the main reasons why.

The causes behind muddled dialogue are many, multifaceted, and might vary between person to person. For some, the problem is the design of modern televisions; the majority of which place internal speakers at the bottom of the set instead of facing towards the audience, causing significantly worse audio quality. Other issues are caused by sound designs optimized for theatrical experiences, which can result in compressed audio when translated to home. Whatever the reason, a lot of people struggle to hear dialogue now, so turning on closed captioning to decipher what people are saying has become a no brainer move...

Gen Z is, overwhelmingly, the generation most likely to be turning on subtitles according to Preply's numbers, with 70% of respondents in the generation saying they use closed captions "most of the time" compared to 53% of Millennials, 38% of Gen X, and 35% of Baby Boomers. As to why Gen Z likes to turn on text while watching their shows, part of it is that people in the generation grew up watching videos on social media, where subtitles are the algorithmically encouraged default.

Another reason is that Gen Z displays starkly different viewing habits than Baby Boomers in terms of where they're watching their movies and shows. According to Preply, 57% of all Americans watch shows or movies or videos in public on their mobile devices, but a very significant 74% of Gen Z do the same. Even if you're (hopefully) using headphones while in public, it's likely you're getting poor audio quality and hearing background noise if you're watching "The Irishman" on public transit.
The article also cites a three-month study in 2020 by Parrot Analytics (which studies trends in entertainment) which discovered non-U.S. shows accounted for nearly 30% of the demand from U.S. audiences. (And even English-language shows may still have characters speaking with difficult-to-understand accents...)

Monday U.S. Senator Marco Rubio said government workers with high security clearances had made UFO-related claims, leading to a bill's provision to halt any reverse-engineering of alien crafts. News stories at the time noted "allegations of secret UFO retrieval and reverse-engineering programs" by former intelligence official turned whistleblower, David Grusch, a story which Vanity Fair traced to a "little-known" site called The Debrief.

But that article's authors have some serious journalistic experience. Ralph Blumenthal spent more than 45 years on staff at The New York Times. Leslie Kean is an investigative science journalist known for her writing on UFOs. In 2017 they teamed up with a New York Times Pentagon correspondent for an "explosive 2017 UFO report," writes the Atlantic, "in which the journalists revealed a defunct secret Pentagon program — initially funded at the request of former Senate majority leader Harry Reid — to investigate 'unidentified flying objects.'" I've learned that Kean and Blumenthal did, in fact, bring the story to the Times, but the paper of record turned it down... The pair also pitched their story to Politico and The Washington Post. The Post had been trying to further report the story that the reporters had brought to the paper, but didn't think it was ready for publication; among its reservations, according to a source familiar, was that it was unclear what members of Congress made of Grusch's testimony... Politico — which, a source familiar noted, had the story for mere days, while the Post had the story for weeks — also wasn't able to turn around the story at the speed that Kean and Blumenthal wanted, Blumenthal said...

The writers' apparent time constraints have only raised more questions. "To be clear — the Washington Post did not pass on our story," Kean wrote on Facebook Monday. "Ralph and I took it to the Debrief because we were under growing pressure to publish it very quickly." Blumenthal told me that circumstances — including that Grusch's identity as the whistleblower had leaked out on the internet — pushed them to "publish sooner than we'd hoped." "If there had been no leaks, it might've been different," Blumenthal said. But "people on the internet were spreading stories Dave was getting harassing phone calls and we felt the only way to protect him was to get the story out...."

Now out in the world, the reporting process is raising even more eyebrows. During interviews on NewsNation with both Grusch and Kean, it became clear that neither had seen photos of the alleged craft. NewsNation's Brian Entin asked Kean about the lack of receipts: "He has the credentials, but there's no documents that he's handed over, there's no pictures, and as a journalist, you want to see documents; you want to see pictures." But Kean said the lack of documents or photographs did not raise red flags for her because "all of that information is classified." She believes it, she said, "because of all the sources I have who have told me the same thing... I don't think there's some conspiracy among all these people who don't know each other to make something like this up."

In response to the report, DoD spokesperson Sue Gough told NewsNation in a statement, "To date, AARO (All-domain Anomaly Resolution Office) has not discovered any verifiable information to substantiate claims that any programs regarding the possession or reverse-engineering of any extraterrestrial materials have existed in the past or exist currently.

Rolling Stone reports: Over 100 artists including Rage Against the Machine co-founders Tom Morello and Zack de la Rocha, along with Boots Riley and Speedy Ortiz, have announced that they are boycotting any concert venue that uses facial recognition technology, citing concerns that the tech infringes on privacy and increases discrimination.

The boycott, organized by the digital rights advocacy group Fight for the Future, calls for the ban of face-scanning technology at all live events. Several smaller independent concert venues across the country, including the House of Yes in Brooklyn, the Lyric Hyperion in Los Angeles, and Black Cat in D.C., also pledged to not use facial recognition tech for their shows. Other artists who said they would boycott include Anti-Flag, Wheatus, Downtown Boys, and over 80 additional artists. The full list of signatories is available here.

"Surveillance tech companies are pitching biometric data tools as 'innovative' and helpful for increasing efficiency and security. Not only is this false, it's morally corrupt," Leila Nashashibi, campaigner at Fight for the Future, said in a statement. "For starters, this technology is so inaccurate that it actually creates more harm and problems than it solves, through misidentification and other technical faultiness. Even scarier, though, is a world in which all facial recognition technology works 100% perfectly — in other words, a world in which privacy is nonexistent, where we're identified, watched, and surveilled everywhere we go...." New York venue Citi Field as well as Cleveland's FirstEnergy Stadium, Miami's Hard Rock Stadium, and the Pechanga Arena in San Diego are among several venues across the country that have used face-scanning.
Thanks to long-time Slashdot reader SonicSpike for sharing the story.

In an opinion piece for NPR, guest host and TV critic on NPR's Fresh Air, David Bianculli, raises concerns about Discovery CEO David Zaslav's track record and the future of Turner Classic Movies (TCM) under his leadership. Here's an excerpt from his piece: When the dismissal was announced recently of most of the people who have guided Turner Classic Movies brilliantly for years -- the programmers, the producers of special material, even the executives who plan the TCM film festivals and party cruises -- many people in Hollywood reacted like there'd been a death in the family. Because, to people who really love movies, that's what the news felt like. [...] Warner Bros. Discovery CEO David Zaslav, in explaining his TCM changes, has said that, among other things, he wants to have filmmakers appear on TCM to curate and present movies of their choosing. Nothing wrong with that. Except you don't have to replace your current management team to make that happen -- and besides, it's already happening. Earlier this year, when Steven Spielberg was promoting his new autobiographical movie The Fabelmans, TCM host Ben Mankiewicz had Spielberg on to select, present and talk about three movies of his choice.

The team that's been running TCM for years has been serving up treats like this with regularity, and with exceptional taste. There are pockets on the schedule for silent movies, for underground films, for film noir, for musicals, and so much more. And if you stay tuned between movies -- which you should -- you get even more treats. Salutes of actors by fellow actors. Short features on costume design and the uncomfortable but illuminating history of blackface in the movies. Some films are presented in newly restored form. Others are newly discovered and presented as the gems they are -- and TCM occasionally revives and showcases rare live television dramas, too. You can imagine how much I love that.

Zaslav says the TCM channel is on all the time in his office, too, and he's saying all the right things about valuing the curation of film as well as film itself. But Zaslav already has just shut down his overseas equivalent of Turner Classic Movies in the U.K. And he's the guy who, since taking over the reins at Warner Bros. Discovery, already has turned HBO Max into just Max, which makes no sense -- devaluing his own HBO brand. Zaslav's altered that Max streaming service so that, while a link to a TCM sub-menu does appear, it's buried way down in the menu. What's worse, its highlighted TCM movie offerings are almost all of the more recent, filmed in color, variety. It's presenting only a tepid taste of what TCM offers on its own 24-hour cable service. Zaslav also, since becoming CEO, has overseen the rapid, clumsy devaluation of CNN, by making poorly received moves like that Donald Trump town hall. In Zaslav's short time on the job, he's already considerably damaged CNN, one of Turner's more brilliant network ideas. I fear, with Turner Classic Movies, Zaslav is about to weaken another -- but I'd love to be proven wrong.

"Alaska Weather," a daily 30-minute TV show that has broadcast across Alaska for the past 47 years, is going off the air due to a lack of funds. Gizmodo reports: In lieu of the news, residents seeking information on their state's weather will be forced to lean on spotty, sub-par internet. Friday evening will be the final television installment of "Alaska Weather," as first reported by Alaska Public Media. The show, which is the only weather program produced directly by the National Weather Service, has filled an information and communications void for decades. Without it, "if you don't have good internet connectivity, you're in a world of hurt in western and northern Alaska as far as getting weather information," said Rick Thoman, a climate specialist at the International Arctic Research Center, to the Associated Press. And many in Alaska don't have reliable or fast internet access.

General, aviation, and maritime forecast segments will remain available online only, via YouTube. Emergency alerts, like storm warnings, will be relegated to the National Oceanic Atmospheric Administration radio broadcasts, which don't cover the whole state, per Alaska Public Media. Officials from the state-owned, non-profit media organization say that money problems are to blame. Putting together and distributing "Alaska Weather" has cost Alaska Public Media $200,000 annually, and the network can't afford to do it anymore, according to Linda Wei, APM's chief content officer.

"It's no longer sustainable for us to continue in this manner," Wei told AP. "It's not a decision that we came to lightly." Big state funding cuts in 2019 left APM in a tough spot. The media org kept "Alaska Weather" going on its own for years, following the loss of state backing, but now Wei says the network can't anymore. "We've been doing this, without support, for about four or five years, and we've made that known to NOAA," said Wei to WaPo. "It just got to the point where we couldn't continue." Wei says she's hoping there's a possibility of getting "Alaska Weather" back on the air. But for now, there will be a gap.

An anonymous reader quotes a report from The Hill: Asked June 26 about allegations of secret UFO retrieval and reverse-engineering programs, Senate Intelligence Committee Vice Chairman Marco Rubio (R-Fla.) made several stunning statements. In an exclusive interview, Rubio told NewsNation Washington correspondent Joe Khalil that multiple individuals with "very high clearances and high positions within our government" "have come forward to share" "first-hand" UFO-related claims "beyond the realm of what [the Senate Intelligence Committee] has ever dealt with."

Rubio's comments provide context for a bipartisan provision adopted unanimously by the Senate Intelligence Committee, which would immediately halt funding for any secret government or contractor efforts to retrieve and reverse-engineer craft of "non-earth" or "exotic" origin. This extraordinary language added to the Senate version of the Intelligence authorization bill mirrors and adds significant credibility to a whistleblower's recent, stunning allegations that a clandestine, decades-long effort to recover, analyze and exploit objects of "non-human" origin has been operating illegally without congressional oversight.

Additionally, the bill instructs individuals with knowledge of such activities to disclose all relevant information and grants legal immunity if the information is reported appropriately within a defined timeframe. Moreover, nearly 20 pages of the legislation appear to directly address recent events by enhancing a raft of legal protections for whistleblowers while also permitting such individuals to contact Congress directly. Researcher and congressional expert Douglas Johnson first reported on and analyzed the remarkable bill language, which, if it passes the House, could become law this calendar year.

Apple has uploaded the entire first episode of its sci-fi series "Silo" to Twitter, allowing anyone there to watch the opening installment for free. Engadget reports: Silo is based on the science fiction novel Wool by American author Hugh Howey. It takes place on a post-apocalyptic version of Earth, where what remains of humanity is confined to the Silo, a 144-story underground bunker that serves as a self-sufficient underground community. The citizens are told that the world outside the Silo is perilous, but questions arise about what truly lies beyond. It's a clever premise that allows showrunner Graham Yost to explore the book's themes about truth vs. fiction and information as power. Apple has reportedly renewed the series for a second season. You can watch the full episode on Twitter here.

SiriusXM will shut down its podcast app Stitcher at the end of August. The Hollywood Reporter reports: In a memo sent to employees, executives from the satellite radio and audio company said SiriusXM will not be backing away from podcasting, but rather will be trying to move more listeners over to its SXM app in order to grow subscriber numbers ahead of new "streaming experience" launching this fall. The SiriusXM Podcast Network, which includes content production hubs Stitcher Studios and Earwolf, remains unchanged as part of this decision and there will not be layoffs as part of this.

"The scale and reach of our widely distributed podcasts has been and remains a crucial accelerant for our advertising sales business, while incorporating podcasts more holistically into our flagship SiriusXM subscription service will help to drive further growth. As a result, we have made the decision to sunset our stand-alone podcast listening app as we increase our focus on these priorities," reads an internal memo Tuesday from chief product and tech officer Joe Inzerillo, chief ad revenue officer John Trimble and chief content officer Scott Greenstein.

Meta has introduced a new VR subscription service called Meta Quest+ that costs $7.99 a month. Subscribers will get access to two new games each month, which they can play as long as the subscription is active. CNBC reports: Meta Quest+ costs $7.99 a month and is compatible with the Quest 2, the Quest Pro and the upcoming Quest 3. The subscription service marks Meta's latest effort to generate recurring revenue from its Reality Labs unit, which is developing virtual reality and augmented reality technologies. New games will launch for Meta Quest+ subscribers on the first of each month. The games can be played as long as the subscription is active.

In July, subscribers will get the games "Pixel Ripped 1995" and "Pistol Whip." Users will then receive "Walkabout Mini Golf" from Mighty Coconut and "Mothergunship: Forge" from Terrible Posture Games in August. Meta Quest+ is available in the Meta Quest Store starting Monday.

The "BepiColombo" mission, a joint European-Japanese effort, "has recently completed its third of six planned flybys of Mercury, capturing dozens of images in the process," reports the Byte: At its closest, the spacecraft soared within just 150 miles of Mercury. This occurred on the night side of the planet, however, too dark for optimal imaging. Instead, the first and nearest image was taken 12 minutes after the closest approach, at the still impressive proximity of some 1,100 miles above the surface.
Now the ESA has spliced together 217 images from that flyby into a short video, which culminates with a zoomed-in closeup of Mercury's cratered surface. And the music in that video had a little help from AI, reports Phys.org: Music was composed for the sequence by ILÄ (formerly known as Anil Sebastian), with the assistance of AI tools developed by the Machine Intelligence for Musical Audio group, University of Sheffield.

Music from the previous two flyby movies — composed by Maison Mercury Jones' creative director ILÄ and Ingmar Kamalagharan — was given to the AI tool to suggest seeds for the new composition, which ILÄ then chose from to edit and weave together with other elements into the new piece.

The team at the University of Sheffield has developed an Artificial Musical Intelligence (AMI), a large-scale general-purpose deep neural network that can be personalized to individual musicians and use cases. The project with the University of Sheffield is aimed at exploring the boundaries of the ethics of AI creativity, while also emphasizing the essential contributions of the (human) composer.
From the ESA's announcement: BepiColombo's next Mercury flyby will take place on 5 September 2024, but there is plenty of work to occupy the teams in the meantime... BepiColombo's Mercury Transfer Module will complete over 15 000 hours of solar electric propulsion operations over its lifetime, which together with nine planetary flybys in total — one at Earth, two at Venus, and six at Mercury — will guide the spacecraft towards Mercury orbit.

The ESA-led Mercury Planetary Orbiter and the JAXA-led Mercury Magnetospheric Orbiter modules will separate into complementary orbits around the planet, and their main science mission will begin in early 2026.
One spaceflight blog notes the propulsive energy required for an eventual entry into the orbit of Mercury "is greater than that of a mission to fly by Pluto.

"Only one other spacecraft has orbited Mercury, and that was NASA's MESSENGER probe, which orbited the planet from 2011 to 2015."

The Federal Communications Commission (FCC) has proposed new rules to crack down on hidden fees charged by cable and satellite video providers. "My administration's top priority is lowering the cost of living for the middle class, and that includes cracking down on companies' use of junk fees to hide true costs from families, who end up paying more as a result," Biden said in a statement on Tuesday. Ars Technica reports: As Biden noted, the FCC "proposed a new rule that would require cable and satellite TV providers to give consumers the all-in price for the service they're offering up front." The proposed rule would force companies like Comcast, Charter Spectrum, and DirecTV to publish more accurate prices. Biden continued: "Too often, these companies hide additional junk fees on customer bills disguised as "broadcast TV" or "regional sports" fees that in reality pay for no additional services. These fees really add up: according to one report, they increase customer bills by nearly 25 percent of the price of base service."

FCC Chairwoman Jessica Rosenworcel first floated pricing transparency rules for the TV services offered by cable and satellite companies in March. That effort took a step forward on Tuesday when the commission approved a Notice of Proposed Rulemaking (NPRM) that seeks public comment on rules that would force video providers to offer accurate prices in advertising. "Consumers who choose a video service based on an advertised monthly price may be surprised by unexpected fees related to the cost of video programming that raise the amount of the bill significantly," the NPRM said. The cable and satellite TV companies' practice of listing "Broadcast TV" and "Regional Sports Network" fees separately from the advertised price "can be potentially misleading and interpreted as a government-imposed tax or fee, instead of a company-imposed service fee increase," and make it hard for customers to compare prices across providers, the FCC said.

The docket is available here, and comments will be accepted for 60 days after the NPRM is published in the Federal Register. The FCC said its proposal "would require cable operators and DBS [direct broadcast satellite] providers to clearly and prominently display the total cost of video programming service." The FCC is also seeking comment on whether it has the authority to impose similar requirements on other types of video providers. But Rosenworcel reportedly said in a congressional hearing that the FCC's authority under US law doesn't extend to streaming services.

An anonymous reader shares a report: The world of Secret Invasion is decidedly sketchy. With thousands of shapeshifting Skrulls on Earth, you can't trust what you think you're seeing. One second, you're looking at Nick Fury or an esteemed world leader; the next, you see their face morph into something (or someone) else entirely. This is a description of the plot of the new Marvel Cinematic Universe show on Disney Plus (as well as its comic book counterpart), which follows Nick Fury as he uncovers -- what else? -- a secret invasion by the Skrull population on Earth. But the concept of shape-shifting is also seen in the series' very different approach to its opening credits, which look like a sort of watercolor rendering of the key players and themes of Secret Invasion.

As we see a sort of jittery and ominous sequence of the Skrull green taking over more and more of the world, it looks a lot like if an AI was prompted with the concept of "Skrull cubism" -- which, actually, isn't that far off of what it is. As director and executive producer Ali Selim tells Polygon, the intro sequence was designed by Method Studios using artificial intelligence, something he thinks plays with the very themes of the show. "When we reached out to the AI vendors, that was part of it -- it just came right out of the shape-shifting, Skrull world identity, you know? Who did this? Who is this?" Selim says. Like many people, Selim says he doesn't "really understand" how the artificial intelligence works, but was fascinated with the ways in which the AI could translate the sense of foreboding he wanted for the series. "We would talk to them about ideas and themes and words, and then the computer would go off and do something. And then we could change it a little bit by using words, and it would change."

The Recording Academy on Friday updated its rulebook for the Grammy Awards, banning work produced entirely by artificial intelligence. Some music created with AI help may still qualify, however. Reuters reports: Music creators must now contribute to at least 20% of an album to earn a nomination. "A work that contains no human authorship is not eligible in any categories." In the past, any producer, songwriter, engineer or featured artist on an album could earn a nomination for album of the year, even if the person had a small input.

Spotify is planning a more expensive subscription option that's expected to include high-fidelity audio in an effort to drive more revenue and placate investors who've been saying the company should raise its prices. From a report: Dubbed "Supremium" internally, according to people familiar with the strategy, the new tier will be Spotify's most expensive plan and likely offer a HiFi feature the company first announced it was working on in 2021. Spotify delayed that product's rollout after two of its competitors, Apple Music and Amazon Music, began offering the feature for free as part of their standard plans. The new tier will launch this year in non-US markets first.

To augment its current "Premium" tier, Spotify will give subscribers expanded access to audiobooks, either through a specific number of hours free per month or a specific number of titles. There will be an option to purchase more. Currently, the company only sells audiobooks a la carte through its app. Spotify plans to introduce that feature in the US in October, after first launching in markets abroad.

According to an industry insider, LCD TVs won't see any further development because all new R&D money is being spent on self-emissive displays like MicroLED and OLED, as well as on backlight technology like Mini-LED. Tom's Guide reports: According to Bob Raikes from Display Daily, it's all about OLED development. "I asked EMD (which is the US name of Merck KGaA and is by far the dominant supplier of LC materials), what they were doing to push LC materials for displays onto the next stage ... They are developing LCs for privacy windows and antennas, but they told us that 'there is no pull from clients' for significant development in LC materials," Raikes wrote in a recent article. "That shouldn't have been a surprise to me -- I have been talking about the switch to OLED and other emissive displays for the premium end (and later the mainstream) of the display market for a lot of years. Still, after decades of reporting on LC developments, it took a moment to sink in!"

As for what, specifically, manufacturers are working on, it's the production of QD-OLED panels for use in the high-end Samsung and Sony TVs like the Samsung S95C OLED and Sony A95K OLED as well as the development of PHOLED panels that use a blue phosphorescent material that has a longer shelf life and can go brighter than the traditional organic material in OLED panels. [...] Sadly, LCD TVs' days are coming to a close, but OLED TVs are still going strong.