This weekend the Washington Post updated the current status of AM radio: Automakers, such as BMW, Volkswagen, Mazda and Tesla, are removing AM radios from new electric vehicles because electric engines can interfere with the sound of AM stations. And Ford, one of the nation's top-three auto sellers, is taking a bigger step, eliminating AM from all of its vehicles, electric or gas-operated...

Mitsubishi, Nissan, Subaru, Toyota, Honda, Hyundai, Kia and Jaguar Land Rover — said they have no plans to eliminate AM.
The case for removing AM radio: [A]lthough 82 million Americans still listen to AM stations each month, according to the National Association of Broadcasters, the AM audience has been aging for decades. Ford says its data, pulled from internet-connected vehicles, shows that less than 5 percent of in-car listening is to AM stations. Ford spokesman Alan Hall said that because most AM stations also offer their programming online or on FM sister stations, the automaker will continue to "offer these alternatives for customers to hear their favorite AM radio music and news as we remove [AM] from most new and updated models." The 2024 Mustang is Ford's first internal combustion model to be marketed without AM...

As Ford did, BMW eliminated AM from electric models in part because "technological innovation has afforded consumers many additional options to receive the same or similar information," Adam McNeill, the company's U.S. vice president of engineering, said in a letter to Sen. Edward J. Markey (D-Mass.)... For the automakers, eliminating AM is a simple matter of numbers and progress. The AM audience keeps getting smaller and older, and the growth of alternative forms of in-car audio has been explosive.
But the Post adds this this happening "despite protests from station owners, listeners, first-responders and politicians from both major parties." and they point out that half of all AM-radio listening takes place in cars: Many AM stations don't offer alternative ways to listen to their shows. Even those that do say their audience, much of which is older, tends not to be adept at the technologies that let drivers stream anything they choose from their smartphones into their car's audio system. And despite the growing popularity of podcasts and streaming audio, a large majority of in-car listening remains old-fashioned broadcast radio, according to industry studies.

[S]ome of the country's most lucrative radio stations are still on AM, mostly all-news or news and talk stations in big cities such as New York, Chicago, Atlanta and Los Angeles.ome of the country's most lucrative radio stations are still on AM, mostly all-news or news and talk stations in big cities such as New York, Chicago, Atlanta and Los Angeles.
The Post also points out that AM and FM radio combined account for 60 percent of all in-car listening, according to a new study by Edison Research. "SiriusXM satellite radio makes up 16 percent of in-car audio use, followed by drivers' own music from their phones at 7 percent and podcasts and YouTube music videos at 4 percent each."

Long-time Slashdot reader theodp writes: AWS offered A Look Inside the Making of an NFL Football Schedule in conjunction with Thursday's release of the 2023 NFL Schedule Powered by AWS. AWS notes that producing the schedule required the use of 4,000+ AWS EC2 Spot Instances. An AWS promotional video claims they "saved the NFL an estimated $2 million each season" by leveraging AWS Spot Instances for a discount of up to 90% off compared to AWS On-Demand pricing..

"In just three months," AWS explains, "National Football League (NFL) schedule makers methodically build an exciting 18 week 272-game schedule spanning 576 possible game windows." Up until 10 years ago, AWS notes in an accompanying infographic, the NFL used a white-boarding process to manually craft its schedule.

Not to diminish the NFL's and AWS's 2023 scheduling achievement, but the 2013 documentary The Schedule Makers told the remarkable tale of the husband-and-wife duo of Henry and Holly Stephenson, who for almost a quarter of a century in the pre-Cloud era managed the scheduling for 30 Major League Baseball (MLB) teams who each played 162 regular season games a year. According to the May 1985 Atari Compendium (pg. 38), the Stephensons were using a self-written program running on a 64K IMS-8000 to help schedule games for the MLB (2,106 games over a 6-month season), NBA, and NASL/MISL (defunct soccer leagues). So perhaps the NFL's claim that "There's no way the NFL could deliver the quality of schedule that we put out every year for our fans and television partners without the contributions of our friends at AWS" should be taken with a grain of salt.

An anonymous reader quotes a report from TechCrunch: Google [on Wednesday] released MusicLM, a new experimental AI tool that can turn text descriptions into music. Available in the AI Test Kitchen app on the web, Android or iOS, MusicLM lets users type in a prompt like "soulful jazz for a dinner party" or "create an industrial techno sound that is hypnotic" and have the tool create several versions of the song. Users can specify instruments like "electronic" or "classical," as well as the "vibe, mood, or emotion" they're aiming for, as they refine their MusicLM-generated creations.

When Google previewed MusicLM in an academic paper in January, it said that it had "no immediate plans" to release it. The coauthors of the paper noted the many ethical challenges posed by a system like MusicLM, including a tendency to incorporate copyrighted material from training data into the generated songs. But in the intervening months, Google says it's been working with musicians and hosting workshops to "see how [the] technology can empower the creative process." One of the outcomes? The version of MusicLM in AI Test Kitchen won't generate music with specific artists or vocals. Make of that what you will. It seems unlikely, in any case, that the broader challenges around generative music will be easily remedied. You can sign up to try MusicLM here.

TV providers in the U.S. collectively lost 2.3 million customers in the first quarter of 2023. "With the Q1 decline, total pay-TV penetration of occupied U.S. households (including for internet services like YouTube TV and Hulu) dropped to 58.5% -- its lowest point since 1992," reports Variety, citing a report from MoffettNathason. "As of the end of Q1, U.S. pay-TV services had 75.5 million customers, down nearly 7% on an annual basis." From the report: Cable TV operators' rate of decline in Q1 reached -9.9% year over year, while satellite providers DirecTV and Dish Network fell -13.4%. In addition, so-called "virtual MVPDs" (multichannel video programming distributors) lost 264,000 customers in Q1, among the worst quarters to date for the segment. "The picture is not one that suggests that a plateau in the rate of decline is coming any time soon," Moffett wrote.

Comcast, the largest pay-TV provider in the country, dropped 614,000 video customers in Q1 -- the most of any single company -- to stand at 15.53 million at the end of the period. Asked about dwindling video business on the company's earnings call, David Watson, president and CEO of Comcast Cable, acknowledged the reality of cord-cutting and said the operator's approach is "to not subsidize unprofitable video relationships." He added, "We'll fight hard, whether it's acquisition, base management or retention. So it's important to us, but we have figured out a way to manage it financially."

Google's YouTube TV was the only provider tracked by MoffettNathanson that picked up subs in Q1, adding an estimated 300,000 subscribers in the period (to reach about 6.3 million) and netting 1.4 million subscribers over the past year. Hulu, meanwhile, has barely grown over the past three years (and loss about 100,000 live TV subs in Q1), Moffett noted, while FuboTV lost 160,000 subscribers in North America in the first quarter to mark its worst quarterly loss on record. MoffettNathason argues that the "pay TV floor" is between 50 million and 60 million U.S. homes. "As things stand, we expect cord-cutting to grow even worse and the long-theorized 'floor' to be breached."

An anonymous reader quotes a report from Ars Technica: Today, Fairphone, a company known for making smartphones that are meant to last, revealed its take on a user repair-friendly set of wireless, over-the-ear headphones. Like its smartphones, Fairphone's Fairbuds XL have a modular design with Fairphone promising easy spare parts access. However, Fairphone's currently unsure how long it will have parts for the cans in stock. And Fairphone is pulling back from its typical five-year warranty for phones, opting for two years, due to uncertainty around real-world longevity. Modular parts for the Fairbuds XL, which in true Fairphone fashion won't be sold in the US, include a headband cover that pops off to reveal the actual band, a cable connecting the speakers, and left and right speaker modules that allow users to replace a failed driver or wonky buttons.

As of this writing, the 11 modular parts aren't listed for sale, but The Verge reported a replacement battery will cost 19.95 euro, while ear cushions will cost 14.95 euro, and the three headband parts will be 19.95 euro for each. Most of the headset's electronics components, like the Bluetooth 5.1 module, reside in the left and right speaker parts, but Fairphone may start selling spare printed circuit boards, buttons, and microphones if demand warrants, The Verge said. Other headsets have offered replacement ear cushions and head straps before. However, the Fairbuds XL go further by enabling the entire frame of the headband to be swapped easily and encouraging battery replacements. There are wireless headsets with batteries you could manage to replace yourself, but doing so with the Fairbuds XL won't void the warranty.

Further, Fairbuds XL batteries are supposed to be easy to get through Fairphone, which will also sell Fairbuds XL modules through the Fairbuds App available on Play Store and App Store. A big sticking point for user repairability advocates is making spare parts accessible and affordable. Fairphone will also work with customers to provide support or contact with a repair partner if they don't want to perform repairs themselves and accept customers' unwanted components for reuse or recycling, according to The Verge.

Disney CEO Bob Iger said the company will add Hulu content to its Disney+ streaming app, adding that it will also raise the price of its ad-free streaming service later this year. CNBC reports: CEO Bob Iger said the company would soon begin offering a "one app experience" in the U.S. that incorporates Hulu content into its flagship streaming service, Disney+. Standalone options for all of Disney's platforms, including ESPN+, will remain. "This is a logical progression of our DTC offerings that will provide greater opportunities for advertisers, while giving bundle subscribers access to more robust and streamlined content resulting in greater audience engagement and ultimately leading to a more unified streaming experience," Iger said during Wednesday's earnings call.

Iger attributed the move toward a one-app location for both Disney+ and Hulu content to the "advertising potential for the combined platform." While Hulu has long offered an ad-supported option for subscribers, Disney+ launched the cheaper tier last year. Disney will begin to roll out the one-app offering by the end of the calendar year, and Iger said the company would share further details at a later time. In the company's fiscal second quarter earnings, the company reported $21.82 billion in revenue, up 13% from the same period last year and beating estimates. It did, however, shed 4 million Disney+ subscribers.

Zero interaction with employees during a transaction no longer guarantees freedom from the moral quandary of how much to tip. From a report: Prompts to leave 20% at self-checkout machines at airports, stadiums, cookie shops and cafes across the country are rankling consumers already inundated by the proliferation of tip screens. Business owners say the automated cues can significantly increase gratuities and boost staff pay. But the unmanned prompts are leading more customers to question what, exactly, the tips are for. "They're cutting labor costs by doing self-checkout. So what's the point of asking for a tip? And where is it going?" says Ishita Jamar, a senior at American University in Washington, D.C., who has noticed more self-serve tip cues at restaurants she frequents.

Tipping researchers and labor advocates say so-called tip creep is a way for employers to put the onus for employee pay onto consumers, rather than raising wages themselves. Companies say tips are an optional thanks for a job well done. Businesses "are taking advantage of an opportunity," says William Michael Lynn, who studies consumer behavior and tip culture as a professor at Cornell University's Nolan School of Hotel Administration. "Who wouldn't want to get extra money at very little cost if you could?" Square, whose technology powers many iPad point-of-sale machines, says tipped transactions were up 17% year-over-year at full-service restaurants and 16% at quick-service restaurants in the fourth quarter of 2022.

Amazon has launched a new unit, Amazon MGM Studios Distribution, that will allow the company to license Amazon Originals and other titles to third-party media companies, including streaming services and cable TV. TechCrunch reports: For the first time, titles such as âoeThe Marvelous Mrs. Maisel," "Borat Subsequent Moviefilm," "Coming 2 America," "Goliath," "Hunters," "The Tender Bar," "The Tomorrow War," "The Voyeurs" and "Without Remorse," among others, will be sold to other media outlets following their initial run on Prime Video. While the company has distributed shows before, this new venture will be on a much larger scale. Plus, Amazon Originals are mainly exclusive to Prime Video, making it an enticing sale for companies looking to have popular titles on their platforms.

The launch of Amazon MGM Studios Distribution will also allow the company to handle sales of MGM-owned franchises James Bond, Rocky and Creed, as well as "The Handmaid's Tale," "Fargo" and "Vikings." Last year, Amazon acquired MGM for $8.5 billion, giving the company access to more than 4,000 films and 17,000 TV series. [...] According to Chris Ottinger, who will lead Amazon MGM Studios Distribution, the unit will offer flexible bundles, reported Deadline, so sellers can create bundled content packages that work for them. This strategy will likely allow the company to stand out from competitors.

An anonymous reader shares an excerpt from a Motherboard article: Now, frustrated with a lack of transparency and trust around official accounts of UFO phenomena, a team of developers has decided to take matters into their own hands with an open source citizen science project called Sky360, which aims to blanket the earth in affordable monitoring stations to watch the skies 24/7, and even plans to use AI and machine learning to spot anomalous behavior. Unlike earlier 20th century efforts such as inventors proposing "geomagnetic detectors" to discover nearby UFOs, or more recent software like the short-lived UFO ID project, Sky360 hopes that it can establish a network of autonomously operating surveillance units to gather real-time data of our skies. Citizen-led UFO research is not new. Organizations like MUFON, founded in 1969, have long investigated sightings, while amateur groups like the American Flying Saucer Investigating Committee of Columbus even ran statistical analysis on sightings in the 1960s (finding that most of them happened on Wednesdays). However, Sky360 believes that the level of interest and the technology have now both reached an inflection point, where citizen researchers can actually generate large-scale actionable data for analysis all on their own.

The Sky360 stations consist of an AllSkyCam with a wide angle fish-eye lens and a pan-tilt-focus camera, with the fish-eye camera registering all movement. Underlying software performs an initial rough analysis of these events, and decides whether to activate other sensors -- and if so, the pan-tilt-focus camera zooms in on the object, tracks it, and further analyzes it. According to developer Nikola Galiot, the software is currently based on a computer vision "background subtraction" algorithm that detects any motion in the frame compared to previous frames captured; anything that moves is then tracked as long as possible and then automatically classified. The idea is that the more data these monitoring stations acquire, the better the classification will be. There are a combination of AI models under the hood, and the system is built using the open-source TensorFlow machine learning platform so it can be deployed on almost any computer. Next, the all-volunteer team wants to create a single algorithm capable of detection, tracking and classification all in one.

All the hardware components, from the cameras to passive radar and temperature gauges, can be bought cheaply and off-the-shelf worldwide -- with the ultimate goal of finding the most effective combinations for the lowest price. Schematics, blueprints, and suggested equipment are all available on the Sky360 site and interested parties are encouraged to join the project's Discord server. There are currently 20 stations set up across the world, from the USA to Canada to more remote regions like the Azores in the middle of the Atlantic [...] Once enough of the Sky360 stations have been deployed, the next step is to work towards real-time monitoring, drawing all the data together, and analyzing it. By striving to create a huge, open, transparent network, anyone would be free to examine the data themselves.

In June of this year, Sky360, which has a team of 30 volunteer developers working on the software, hopes to release its first developer-oriented open source build. At its heart is a component called 'SimpleTracker', which receives images frame by frame from the cameras, auto-adjusting parameters to get the best picture possible. The component determines whether something in the frame is moving, and if so, another analysis is performed, where a machine learning algorithm trained on the trajectories of normal flying objects like planes, birds, or insects, attempts to classify the object based on its movement. If it seems anomalous, it's flagged for further investigation.

The Today show's food reporter delivers a strange report on a viral AI-generated ad "for an imaginary pizza place called 'Pepperoni Hug Spot'."

Everything looks slightly ... off. Generated by AI, the audience is reminded constantly through the uncanny valley that the people aren't real — and neither is the pizza. "Cheese, pepperoni, vegetable, and more secret things," says the voiceover, which is also artificially generated... "Knock, knock, who's there? Pizza magic," the AI narrator says after a delivery driver (whose steering column is on the left side of his car) is shown delivering a pizza.

"Eat Pepperoni Hug Spot pizza. Your tummy say 'Thank you.' Your mouth say, 'Mmm,'" the ad continues while showing a trio of women eating pizza in the oddest possible fashion, complete with bizarre cheese pulls and facial contortions out of a food-based nightmare. "Pepperoni Hug Spot: Like family, but with more cheese..."

Using AI technologies Runway Gen2, Chat GPT4, Eleven Labs, Midjourney and Soundraw AI, the creator was able to produce the background music, voiceover, graphics, video and even generate the script for the ad. "I used Adobe After Effects to combine all the elements, adding title cards, transitions, and graphics," he adds... Seeing it spread, he whipped up a website that fit the uncanny vibe of the commercial and even created merch including hats and T-shirts.

"I figured I should capitalize on my 15 minutes of internet fame, right?" he jokes.
Twitter CEO Elon Musk "simply responded with an exploding head emoji."

And Pizza Hut's official Twitter account posted their reaction: "My heebies have been jeebied."

UPDATE: Saturday Pizza Hut Canada "transformed" one of its restaurants into the restaurant from the commercial, emblazoning the logo for Pepperoni Hug Spot onto its boxes, employee t-shirts, and the sign outside. There's two videos on the official Instagram feed for Pizza Hut Canada (which for the occasion changed its tagline to "Like family, but with more cheese.")

One video closes by promising the pizza does, indeed, contain "secret things."

All across North America today, over 2,000 comic book stores are celebrating Free Comic Book Day. As it enters its third decade — the event started in 2001, according to Wikipedia — there'll be over two dozen free comic books to choose from this, and enthusiastic stores trying to dial up the fun even more.

16 stores are also giving away Ant-Man and The Wasp: Quantumania in special "ant-sized" boxes — the size of penny — with tiny versions of the cover art from the full-sized Blu-Ray disc boxes (along with a code for a digital version of the movie). The Bleeding Cool site has a running list of stores doing additional special "cool stuff," including cookie giveaways, discounts on paperbacks and comic books, and personal appearances by comic book writers and artists.

Geek-friendly free comic books this year:

• Dark Horse Comics' Star Wars/ Avatar: The Last Airbender
• D.C. Comics is offering Dawn of DC — Knight Terrors
• Marvel is offering several multi-character books, including Spider-Man/Venom, the Avengers/X-Men, and a sampler of the upcoming graphic novel biography of Stan Lee
• IDW's free comics include the Teenage Mutant Ninja Turtles
• There's also the official prequel to the new Street Fighter 6 video game
• Also available: Runescape: Untold Tales/God Wars
• Fantagraphics even has a preview of its upcoming Fabulous Furry Freak Brothers book.
• Archie Horror Presents: The Cursed Library

Bleeding Cool also has previews the artwork from Star Trek: Prelude to Day of Blood, a teaser for a coming "comic book crossover event between IDW's main Star Trek comic and the Star Trek: Defiant series" (that's also accompanied by a Lower Decks comic book story).

Just remember, in 2017 NPR had this advice for visiting comics fans. "While you're there, buy something... The comics shops still have to pay for the 'free' FCBD books they stock, and they're counting on the increased foot traffic to lift sales."

A new web portal allows "Star Trek" fans to explore the iconic bridge of the starship Enterprise through 360-degree, 3D models and learn about its evolution throughout the franchise's history. Smithsonian Magazine reports: The site features 360-degree, 3D models of the various versions of the Enterprise, as well as a timeline of the ship's evolution throughout the franchise's history. Fans of the show can also read detailed information about each version of the ship's design, its significance to the "Star Trek" storyline and its production backstory. Developed in honor of the "Star Trek: Picard" series finale, which dropped late last month on Paramount+, the portal is a collaboration between the Roddenberry Estate, the Roddenberry Archive and the technology company OTOY. A group of well-known "Star Trek" artists -- including Denise and Michael Okuda, Daren Dochterman, Doug Drexler and Dave Blass -- also supported the project.

The voice of the late actress Majel Roddenberry, who played the Enterprise's computer for years, will be added to the site in the future. Gene Roddenberry died in 1991, followed by Majel Roddenberry in 2008; the two had been married since 1969. The portal's creators also released a short video, narrated by actor John de Lancie, exploring every version of the Enterprise's bridge to date, "from its inception in Pato Guzman's 1964 sketches, through its portrayal across decades of TV shows and feature films, to its latest incarnation on the Enterprise-G, as revealed in the final episode of 'Star Trek: Picard,'" per the video description. Accompanying video interviews with "Star Trek" cast and crew -- including William Shatner, who played Captain Kirk in the original series, and Terry Matalas, a showrunner for "Star Trek: Picard" -- also explore the series' legacy.

Canadian singer-songwriter Grimes went viral late last month when she invited her fans to create music using her voice, stating that should would split 50% of royalties for any successful AI-generated song. Now, the artist has unveiled an AI voice software, called Elf.Tech, to make it even easier for users to deepfake her voice for their own AI songs. Pitchfork reports: Artists can commercially release the results in exchange for half of any master-recording royalties. Grimes announced a pair of new songs, "Music for Machines" and "I Wanna Be Software," in tandem with the launch, though their release date has not been set. In a Twitter thread about the software, Grimes asked users to "be tasteful" but said she would only block extreme uses, such as an AI Grimes "Nazi anthem" ("unless it's somehow in jest a la The Producers I guess"). "Baby murder songs" are also off the menu.

Through Elf.Tech, Grimes has also shared a demo of her collaborative remake of Richie Hawtin's Plastikman track "Passage (Out)." Find it in the "Bounces" folder on the website. You can also access stems to train your own Grimes AI. The project is powered by the generative AI Triniti.

An anonymous reader quotes a report from ZDNet: When you think of digital entertainment, your mind might turn first to online video-streaming services, such as Sling TV or YouTube TV, and video-on-demand services, including Netflix or Acorn TV. However, consultant Deloitte's 17th annual "Digital Media Trends" survey suggests traditional television shows and movies are no longer the only forms of entertainment. Younger generations, often called Gen Zs and Millennials, are increasingly turning to user-generated content (UGC) -- which relies on unpaid contributors rather than traditional media professionals -- and video games to find personal fulfillment, value, and meaning. These younger users are creating a vibrant, immersive, and social tapestry of experiences with UGC, video games, music, and social media all playing significant roles. And that move towards UGC and gaming could have big implications for everyone.

Deloitte's survey found that about a third (32%) of consumers view online experiences as meaningful substitutes for in-person interactions, with that proportion increasing to 50% among Gen Zs and Millennials. Almost half (48%) of these younger generations engage more with others on social media than in the physical world, and 40% of them socialize more in video games than offline. Of course, it's not only younger people who view online experiences as meaningful substitutes for in-person interactions. [...] Yet those born after 1981, the usual dividing line between Generation X and Millennials, are much more inclined to live their lives online.

"The Super Mario Bros. Movie" is officially the first film of the year to cross the coveted $1 billion milestone at the global box office. From a report: As of Sunday, after 26 days of release, the animated video game adaptation, from Universal, Illumination and Nintendo, has grossed $490 million in North America and $532 million internationallly. It's only the fifth movie of pandemic times to join the $1 billion club, following "Spider-Man: No Way Home," "Top Gun: Maverick," "Jurassic World Dominion" and "Avatar: The Way of Water."

"The Super Mario Bros. Movie" opened in theaters on April 5 and generated a towering $204 million in its first five days of release, notching the biggest opening weekend of the year and the second-biggest debut ever for an animated movie. Since then, it has become the highest grossing movie domestically and globally of 2023, as well as the highest-grosser ever for a film based on a video game. Those records are especially encouraging because the last time that Mario and Luigi graced the big screen, in 1993's disastrous live-action "Super Mario Bros," became a legendary example of Hollywood's inability to adapt video games.

schwit1 shares a report from Rolling Stone: It was a busy day for the live music industry in Washington [on Wednesday] as senators introduced multiple pieces of legislation aimed at improving transparency and competition in ticketing. One of the most common complaints among music fans in a long list of gripes about the modern ticketing industry is the hidden fees that get tacked on at the very end of a purchase, adding a deceptive extra costs customers won't even see until they've already selected their seats based on a different price. The Transparency in Charges for Key Events Ticketing, or TICKET Act, could end that annoyance. Introduced on Tuesday by U.S. Commerce Committee Chair Maria Cantwell (D-Wash) and committee ranking member Ted Cruz (R-Texas), the bill, if passed, would require ticket sellers for concerts and sporting events to disclose the total price of a ticket including fees right away. Fees themselves can be a significant addition for concert tickets, usually adding a 20 to 30-percent extra charge on tickets but sometimes well exceeding that. Joe Biden pushed for a reform on "junk fees" earlier this year.

While passing the new legislation wouldn't stop the actual fees themselves, it would certainly be a step forward in making the business more transparent for consumers. While the bill would pass all-in prices on a federal level, some states like New York already enacted the policy. "Right now, one company is leveraging its power to lock venues into exclusive contracts that last up to ten years, ensuring there is no room for potential competitors to get their foot in the door," Klobuchar said, seemingly referencing Ticketmaster but not mentioning it by name. "Without competition to incentivize better services and fair prices, we all suffer the consequences. The Unlock Ticketing Markets Act would help consumers, artists, and independent venue operators alike by making sure primary ticketing companies face pressure to innovate and improve."

An anonymous reader shares a report: A young Harrison Ford will grace cinema screens for 25 minutes this summer -- aided by some new Industrial Light & Magic (ILM) software. The news that LucasFilm's Indiana Jones and the Dial of Destiny would feature a de-aged Ford came at the end of last year, but an interview with director James Mangold in Total Film just revealed it will be for almost a fifth of the film's running time.

The fifth Indiana Jones iteration starts with an opening scene from 1944 -- about eight years after Indiana Jones and the Raiders of the Lost Ark took place. "My hope is that, although it will be talked about in terms of technology, you just watch it and go, 'Oh my God, they just found footage. This was a thing they shot 40 years ago," Kathleen Kennedy, president of Lucasfilm and a producer, told Empire. The rest of the movie shoots forward to 1969, with Indy on a mission to prevent a comeback of Nazism.

Netflix lost more than one million users in Spain in the first three months of 2023 according to market research group Kantar, a sign that the streaming giant's crackdown on password-sharing could backfire. From a report: In early February, Spain became one of Netflix's first markets to introduce a monthly fee for users who shared their log-in details with another household and technical measures to detect such sharing. The move was linked to a fall in users of more than a million, two thirds of whom were using someone else's password, according to Kantar's research, which is based on surveys of household streaming habits.

"It's clear this steep drop is due to the crackdown," said Dominic Sunnebo, global insight director at Kantar's Worldpanel Division, adding that the loss of a million users, even if most weren't paid subscribers, would be a blow to Netflix in terms of word of mouth recommendation for its shows and service. Subscription cancellations in the first quarter tripled compared to the previous period, according to Kantar's research. Of all remaining Netflix subscribers in Spain, one-tenth said they planned to unsubscribe in the second quarter. Spanish subscribers are charged $6.57 a month to add members outside their household. A similar fee was introduced in Portugal, Canada and New Zealand after a roll-out in several Latin American countries.

Joe Russo, the co-director of Avengers: Endgame, in an interview on the impact he thinks AI is going to play out in the world of video games, movies and television. He said: This is like a mind-bending question, right? I mean, we've had conversations about how it can be used, and look, Gen Z is very unique because it's a generation that has -- If there were incremental movements in technology over the last, say, 100 years, 150 years, they were the first generation with an exponential movement, right? So there's a real possibility now for technology to become a really important factor in our lives because it's been embraced by Gen Z, and they grew up with it, they understand it, they know how to use it. That's important, right? We're not in a world where, you know, your uncle doesn't know how to send emails anymore. We're in a world where the entire generation has a facile expertise in it, and is also not afraid of it.

So potentially, what you could do with it is obviously use it to engineer storytelling and change storytelling. So you have a constantly evolving story, either in a game or in a movie, or a TV show. You could walk into your house and save the AI on your streaming platform. âoeHey, I want a movie starring my photoreal avatar and Marilyn Monroe's photoreal avatar. I want it to be a rom-com because I've had a rough day," and it renders a very competent story with dialogue that mimics your voice. It mimics your voice, and suddenly now you have a rom-com starring you that's 90 minutes long. So you can curate your story specifically to you.

That's one thing that it can do, but it can also, on a communal level, populate the world of the game, have intelligence behind character choice, you know, the computer-run characters in the game that can make decisions learn your play style, make it a little harder for you, make it a little easier for you, curate the story. Say you want Fortnite to be more of a horror game, right? Then you could ask the AI to ramp up the horror elements of it. So again, you could curate your experience.I think that's where it's going. How quickly we get there, I don't know, but that's where it's going.

Canadian singer-songwriter Grimes has invited her fans to create music using her voice, stating that she would split 50% of royalties for any successful AI-generated song using her voice. On Sunday night she tweeted: "I'll split 50% royalties on any successful AI generated song that uses my voice. Same deal as I would with any artist i collab with. Feel free to use my voice without penalty. I have no label and no legal bindings."

She also said she welcomes the open sourcing of art and an end to copyright. "Im just curious what even happens and interested in being a Guinea pig." From a report: Grimes has long embraced AI as a techno artist. In 2020, her first album to top the Billboard dance charts was Miss Anthropocene, named for the effects of technology on Earth's ecology and climate in the post-Industrial Revolution era. It was also in 2020 that she teamed up with the algorithmic mood music startup Endel to create an AI-generated lullaby for her first child with SpaceX founder Elon Musk who they named X AE A-12 with the Elven spelling of AI, according to Grimes.

"Everyday I thank the overlords of Ableton for cleaning up my tracks, but I do worry though that AI will outpace us and make musicians obsolete. It's inevitable," she warned at Web Summit 2020. With millions of followers across YouTube, Instagram and Twitter and hits like Oblivion, Kill V. Maim and Go, her call for AI collaboration could be a game changer.