Spotify packed on 10 million Premium customers in the last three months of 2022 to stand at 205 million, topping its previous guidance. Variety reports: The growth of its paid subs, up 14% year over year, was "aided by promotional intake and household plans," the company said. Overall, the streamer gained 33 million total monthly active users in the fourth quarter -- a record high -- to reach 489 million (free and paid), up 20% year over year. Amid signs of a flagging economy, Spotify posted 3.17 billion euros in revenue, up 18% from the year-earlier period an in-line with guidance, and a net loss of 270 million euros (versus a net loss of 39 million euros in Q4 2021). Operating loss of 231 million euros for Q4 was better than its projection of -300 million euros.

"We ended 2022 with strong Q4 performance as nearly all of our [key performance indicators] surpassed guidance," Spotify said in its quarterly shareholder deck. The company said revenue growth, excluding the impact of changes in foreign currency exchange rates, was ahead of expectations. Meanwhile, Spotify's ad-supported revenue in Q4 grew 14% year over year, to 449 million euros, led by podcasting gains in the mid-30% range. The company's gross margin for the quarter was 25.3%, slightly above guidance "primarily as a result of lower-than-expected spend on new podcast content investments" as well as "broad-based music favorability." Spotify last week cut 6% of its headcount, laying off about 600 employees. On the earnings call Tuesday, CEO Daniel Ek admitted that he had "overinvested" in Spotify's business, requiring the company to cut jobs.

"I still believe it was the right call to invest, and I would do it again," the CEO said. "But things change, and the macro-environment has changed significantly in the last year. And in hindsight, I probably got a little carried away and overinvested relative to the uncertainty we saw shaping up in the market."

A Welsh branch of McDonald's has started playing classical music and rationing wi-fi in a bid to deter anti-social behavior. The BBC reports: The fast-food restaurant has taken action after incidents at its Wrexham branch and elsewhere in the city which led to police issuing dispersal orders. North Wales Police said a group of 20 to 30 youngsters had caused "upset" but progress had been made recently. McDonald's said it was committed to being a good neighbor in the area. [...] McDonald's said: "We are aware of anti-social behavior affecting the wider area, and have introduced a number of measures in our Wrexham restaurant to support the police in tackling this issue. These include playing classical music from 17:00 GMT and turning off the wi-fi at certain points in the evening."

An anonymous reader quotes a report from Motherboard: Four pixelated cartoon characters talk to each other about coffee, Amazon deliveries, and veganism as they stand apart in a decorated NYC apartment. There is one woman and three men who seem to be the animated versions of Seinfeld's main characters, Elaine, Jerry, George, and Kramer. But unlike Seinfeld, these characters are set in a modern-era NYC, and their voices and bodies look and sound robotic. That's because "Nothing, Forever" is a live-streaming show that's almost entirely generated by algorithms. It's been streaming non-stop on Twitch since December 14. [...] Skyler Hartle, the co-creator of "Nothing, Forever," told Motherboard that the show was created as a parody to Seinfeld. "The actual impetus for this was it originally started its life as this weird, very, off-center kind of nonsensical, surreal art project," Hartle said. "But then we kind of worked over the years to bring it to this new place. And then, of course, generative media and generative AI just kind of took off in a crazy way over the past couple of years."

Hartle and his co-creator, Brian Habersberger, used a combination of machine learning, generative algorithms, and cloud services to build the show. Hartle told Motherboard that the dialogue is powered by OpenAI's GPT-3 language model and that there is very little human moderation of the stream, outside of GPT-3's built-in moderation filters. "Aside from the artwork and the laugh track you'll hear, everything else is generative, including: dialogue, speech, direction (camera cuts, character focus, shot length, scene length, etc), character movement, and music," one of the creators wrote in a Reddit comment. [...] Hartle also said that unlike most television shows, "Nothing, Forever" is able to change based on people's feedback that is received through the Twitch stream chat. "The show can effectively change and the narrative actually evolves based on the audience. One of the major factors that we're thinking about is how do we get people involved in crafting the narrative so it becomes their own," he said. "As generative media gets better, we have this notion that at any point, you're gonna be able to turn on the future equivalent of Netflix and watch a show perpetually, nonstop as much as you want. You don't just have seven seasons of a show, you have seven hundred, or infinite seasons of a show that has fresh content whenever you want it. And so that became one of our grounding pillars," Hartle said. "Our grounding principle was, can we create a show that can generate entertaining content forever? Because that's truly where we see the future emerging towards. Our goal with the next iterations or next shows that we release is to actually trade a show that is like Netflix-level quality."

Netflix has confirmed that its live-action take on One Piece will be streaming in 2023. The Verge reports: That's about all we know so far; Netflix didn't give a specific date, though the company did show off a new poster for its adaptation of Eiichiro Oda's long-running pirate manga / anime. The adaptation was first announced back in 2020 and will be led by showrunners Matt Owens and Steven Maeda. The main cast includes the likes of Inaki Godoy as Luffy (who you can see the back of in the new poster), Mackenyu as Zoro, Emily Rudd as Nami, Jacob Romero Gibson as Usopp, and Taz Skylar as Sanji. The Verge notes that One Piece "follows some less-than-impressive live-action anime adaptations from Netflix, including a Death Note film and a Cowboy Bebop series that was canceled after one season."

Avatar: The Way of Water "has passed Star Wars: The Force Awakens as the fourth highest-grossing movie of all time," reports Variety: Director James Cameron's sci-fi epic has now earned $2.075 billion at the global box office. Star Wars: The Force Awakens, another sci-fi sequel released long after previous installments, finished its theatrical run with $2.064 billion after hitting theaters in December 2015.

With this latest box office milestone, Cameron now has three of the top four highest-grossing movies in history — the original Avatar is still the champion [with $2.92 billion], while Titanic sits in third place [with $2.2 billion].

[The second-highest grossing film of all time is Avengers: Endgame with $2.79 billion.] Avatar: The Way of Water has quickly moved up in the record books, surpassing Spider-Man: No Way Home ($1.92 billion) on Jan. 18 and Avengers: Infinity War ($2.05 billion) shortly after on Jan. 26....

A third "Avatar" entry has already been set for release in December 2024 and there are plans for a fourth and fifth to continue the intergenerational saga
Some context from The A.V. Club: The highlight of that big pile of planetary currency being a massive $229 million turnout in China, where it's one of the first Disney movies to play in the country's lucrative markets in some time.

As it happens, James Cameron told GQ back in November, ahead of his sequel's release, that his "fucking expensive" movie would have to post these kinds of numbers to be anything other than a loss for the studio. "You have to be the third or fourth highest-grossing film in history," he noted at the time. "That's your threshold. That's your break even."
Wikipedia points out that when box office figures are adjusted for inflation, the highest-grossing film of all time is still the 1939 Civil War drama Gone with the Wind. And the next top-grossing films of all-time?

• The original Avatar
• Titanic
• The original Star Wars (1977)
• Avengers: Endgame
• The Sound of Music (1965)
• E.T. the Extra Terrestrial (1982)
• The Ten Commandments (1956)
• Doctor Zhivago (1965)
• Star Wars: the Force Awakens

Amazon is developing a TV series based on the Tomb Raider video game franchise with scripts written by Phoebe Waller-Bridge, according to The Hollywood Reporter. The Verge reports: Details are light on this new Tomb Raider series, but THR says that while Waller-Bridge will serve as a writer and executive producer, she won't be starring in the show. The show is apparently still in the development stages, so we probably shouldn't expect to see it anytime soon. This new series could be another potentially big video game franchise adaptation for Amazon, which announced in December that it would be making a God of War TV show. But it also marks a further investment from Amazon into the Tomb Raider franchise, as the company will also be publishing the next Tomb Raider game from Crystal Dynamics. Amazon didn't immediately reply to a request for comment.

An impressive new AI system from Google can generate music in any genre given a text description. But the company, fearing the risks, has no immediate plans to release it. From a report: Called MusicLM, Google's certainly isn't the first generative AI system for song. There's been other attempts, including Riffusion, an AI that composes music by visualizing it, as well as Dance Diffusion, Google's own AudioML and OpenAI's Jukebox. But owing to technical limitations and limited training data, none have been able to produce songs particularly complex in composition or high-fidelity. MusicLM is perhaps the first that can.

Detailed in an academic paper, MusicLM was trained on a data set of 280,000 hours of music to learn to generate coherent songs for descriptions of -- as the creators put it -- "significant complexity" (e.g. "enchanting jazz song with a memorable saxophone solo and a solo singer" or "Berlin '90s techno with a low bass and strong kick." Its songs, remarkably, sound something like a human artist might compose, albeit not necessarily as inventive or musically cohesive. [...] That's not to suggest MusicLM's flawless -- far from it, truthfully. Some of the samples have a distorted quality to them, an unavoidable side effect of the training process. And while MusicLM can technically generate vocals, including choral harmonies, they leave a lot to be desired. Still, the Google researchers note the many ethical challenges posed by a system like MusicLM, including a tendency to incorporate copyrighted material from training data into the generated songs.

If it's still too early to declare platform-exclusive podcast deals dead as we move into 2023, it's becoming ever clearer that this business model is likely not long for this world. From a report: Spotify in particular has spent the past few years building up its arsenal of exclusive podcast content, shelling out more than $1 billion to acquire studios, lock down popular shows and secure marquee names. Those include podcasting behemoth Joe Rogan, former Presidential couple the Obamas (through their Higher Ground media company) and even the Duke and Duchess of Sussex. But the tide is turning as we enter what many observers project to be a difficult year for the podcasting industry. As in the streaming video space, the major audio players are reportedly reining in their spending amid economic pressures, bringing the booming market of the last several years toward a close.

[...] For one thing, as the digital ad market continues to sag in the months ahead, competition for podcast ad dollars is going to intensify further -- bad news for any creator whose show is limited to a single platform. Despite exponential growth in the number of shows available to listeners -- on Spotify alone, that number grew from around 700,000 at the end of 2019 to 4.7 million in September 2022, per company reports -- the podcast ad market, while still growing, has not expanded nearly as rapidly. Spotify's U.S. podcast ad revenue is projected to steadily increase by about 40 percent year-over-year through 2024, far down from the explosive growth rates of 2020 and 2021 as its podcast operations expanded.

An anonymous reader quotes a report from Motherboard, written by Katie Way: MILF Manor is a reality TV show made to be dissected on the internet. Everything, from its ripped-from-30-Rock title to the Oedipal set-up of mothers and their sons thrown into the same "dating pool," is so patently outrageous that it boomerangs back into normalcy -- of course these mothers need to participate in a blindfolded contest to identify their sons by their abs alone. But MILF Manor's most understated quirk is the one that sticks out to me: There's no tanned, vaguely handsome man with veneers and a dress shirt directing the festivities. Instead, contestants receive alerts and directions via text, on iPhones in magenta cases that seem to be provided by the producers. Like more and more reality TV competition shows, there's no actual host.

By my estimation, Netflix's The Circle kicked the trend off in 2020. Its contestants, who compete to create the most lovable social media presence in physical isolation, receive prompts and challenges from a big-screen TV in their living quarters. Pressure Cooker, a more recent offering from the streaming giant, is a cooking competition show where the host is replaced by a kitchen ticket printer: Competitions receive challenge instructions and the results of game-ending votes in the same way chefs take orders from their diners. The Button, a YouTube speed dating series by the production company Cut, goes a step further with the introduction of a large talking button that cracks jokes and prompts daters to ask each other cringe-worthy questions until one of them presses it, ending the date and sending in another option.

Why axe the role of host when it's been a staple of the formula for so long? It could be a sign of the recession. Reality TV competition shows are famously among the cheapest television to produce, but if I've learned anything about business, it's that executives have never met a corner they're not dying to cut. It could also be that the role of reality TV host is not attracting the same iconic cultural figures it once was, when the subgenre exploded in popularity in the early 2000s. [...] At the core, though, I believe there's something more insidious at play: Robots are once again stealing jobs from red-blooded human workers. Only this time, instead of factory linemen or fast food cashiers, these laborers are C-List comedians and guys who are incredibly symmetrical but not quite hot. (Again, Jeff Probst, I am not talking about you!) Sure, I know machine intelligence doesn't experience emotion -- yet! -- and I know that all of these robo-hosts are likely operated by producers -- for now! But isn't toying with people in a high-stress, high-stakes situation, the exact job description of a reality competition host, the absolute dream gig for a robot? Seems a little too perfect. "Experts already predict that AI and machine learning could replace people working as couriers, investment analysts, and customer service representatives," concludes Way. "Adding reality competition show hosts to that list means the creep into our cultural landscape has already started, which is a distinctly scary thought, in my book. Our flesh is weak, our MILFs are fragile, and we are so, so vulnerable to the clinical calculations of our machine overlords -- uh, I mean, hosts."

Will moviegoers ever get superhero fatigue? Marvel boss Kevin Feige doesn't buy it, saying on a new podcast interview that there are 80 years of "groundbreaking" stories told in the Marvel comics that they can adapt into "different genres." From a report: "I've been at Marvel Studios for over 22 years, and most of us here at Marvel Studios have been around a decade or longer together," Feige said on "The Movie Business Podcast," hosted by Jason E. Squire, an author and professor at the USC School of Cinematic Arts. "From probably my second year at Marvel, people were asking, 'Well, how long is this going to last? Is this fad of comic book movies going to end?'"

Feige continued, "I didn't really understand the question. Because to me, it was akin to saying after 'Gone With the Wind,' 'Well, how many more movies can be made off of novels? Do you think the audience will sour on movies being adapted from books?' You would never ask that because there's an inherent understanding among most people that a book can be anything. A novel can have any type of story whatsoever. So it all depends on what story you're translating. Non-comic readers don't understand that it's the same thing in comics." Referencing the rich catalog of Marvel comics, which date back to 1939, Feige said there are countless stories for the studio to adapt in various genres.

"One of the most beloved sci-fi novels of the 21st century finally has been adapted for television to huge acclaim," writes Esquire, "and it's out now." Their article includes embedded videos of Tencent Video's live-action adaptation of Three-Body Problem, which is streaming free on YouTube with English subtitles. "They're already getting great reviews online, with an 8.7 IMDb score for the adaptation that is being acclaimed for its faithfulness to the original bestselling novel."

Long-time Slashdot reader gordm writes: The YouTube playlist offers the first 4 episodes (of a 30 episode series) for free, although the videos include Chinese ads.... Be sure your YouTube subtitles are turned on.

I've only watched episode one and noted the most unpleasant reaction I had during my first-read of the book is front-loaded into episode one of the show... that is, it is suggested GMO and advanced technologies are a blight upon humanity. I kept reading, and I'm glad I did. But for any viewers put off by that moment, and not knowing what Three-Body Problem is about... that moment pays off later.
Esquire calls the original book "not only the most successful Chinese science fiction novel of the century so far, but likely the most successful and acclaimed science fiction series in the world since 2000, winning the Hugo Award and the Nebula Award for Best Novel..."

Netflix says its own adaptation of Three-Body Problem will also be released before the end of 2023.

In the latest test build of Windows 11, a new volume mixer can be enabled that looks a lot like EarTrumpet. The Verge's Tom Warren reports: The new Windows 11 feature provides quick access from the taskbar to switch audio outputs and control individual app volumes. That's exactly what EarTrumpet was built for nearly five years ago. The awesome utility has improved audio in Windows for years, and I once called it "the Windows 10 volume control app Microsoft should have created." How ironic.

Former Microsoft engineer Dave Amenta and Microsoft MVP Rafael Rivera created EarTrumpet, and Rivera pointed out the similarities of Microsoft's new Windows 11 feature on Twitter this week. "Oh snap. Microsoft is catching up to EarTrumpet," said Rivera. [...]

The operating system has long needed improvements here, and Windows users shouldn't really have to resort to third-party tools that put another volume icon in your system tray. Microsoft's implementation isn't as quick and easy as EarTrumpet, but there's still time for the company to refine it before launch.

Stephen Colbert is joining the team that is adapting Roger Zelazny's "The Chronicles of Amber" for television. Variety reports: Colbert will now executive produce the potential series under his Spartina production banner. Spartina joins Skybound Entertainment and Vincent Newman Entertainment (VNE) on the series version of the beloved fantasy novels, with Skyboudn first announcing their intention to develop the series back in 2016. The books have been cited as an influence on "Game of Thrones," with author George R.R. Martin recently stating he wanted to see the books brought to the screen.

"The Chronicles of Amber" follows the story of Corwin, who is said to "awaken on Earth with no memory, but soon finds he is a prince of a royal family that has the ability to travel through different dimensions of reality (called 'shadows') and rules over the one true world, Amber." The story is told over ten books with two story arcs: "The Corwin Cycle" and "The Merlin Cycle." The series has sold more than fifteen million copies globally. The search is currently on for a writer to tackle the adaptation. No network or streamer is currently attached. Colbert and Spartina are currently under a first-look deal at CBS Studios, but they are not currently the studio behind the series. "George R.R. Martin and I have similar dreams," Colbert said. "I've carried the story of Corwin in my head for over 40 years, and I'm thrilled to partner with Skybound and Vincent Newman to bring these worlds to life. All roads lead to Amber, and I'm happy to be walking them."

An anonymous reader quotes a report from Ars Technica: According to a new study, a little over 70 percent of prescription drugs advertised on television were rated as having "low therapeutic value," meaning they offer little benefit compared with drugs already on the market. The study, appearing in JAMA Open Network, aligns with longstanding skepticism that heavily promoted drugs have high therapeutic value. "One explanation might be that drugs with substantial therapeutic value are likely to be recognized and prescribed without advertising, so manufacturers have greater incentive to promote drugs of lesser value," said the authors, which include researchers at Harvard, Yale, and Dartmouth.

For the new study, researchers led by Aaron Kesselheim, who leads Harvard's Program On Regulation, Therapeutics, And Law (PORTAL), looked at monthly lists of the top-advertised drugs on TV in the US between 2015 and 2021. They also looked up therapeutic value ratings for those drugs from independent health assessment agencies in Canada, France, and Germany. The value ratings were based on drugs' therapeutic benefit, safety profile, and strength of evidence, as compared with existing drugs. Any drug rated "moderate" or above was classified as a "high value" drug for the study. For drugs with multiple ratings, the study authors used the most favorable rating, which they note could overestimate the proportion of higher-benefit drugs.

Of the top advertised drugs, 73 had at least one value rating. Collectively, pharmaceutical companies spent $22.3 billion on advertising for those 73 drugs between 2015 and 2021. Even with the generous ratings, 53 of the 73 drugs (roughly 73 percent) were categorized as low-benefit. Collectively, these low-benefit drugs accounted for $15.9 billion of the ad spending. The top three low-benefit drugs by dollar amount were Dulaglutide (type 2 diabetes), Varenicline (smoking cessation), and Tofacitinib (rheumatoid arthritis). The outlook for change is bleak, the authors note. "Policy makers and regulators could consider limiting direct-to-consumer advertising to drugs with high therapeutic or public health value or requiring standardized disclosure of comparative effectiveness and safety data," Kesselheim and his colleagues concluded, "but policy changes would likely require industry cooperation or face constitutional challenge." The report notes that the U.S. is "one of only two countries that allows direct-to-consumer (DTC) drug advertisements, such as TV commercials." The other is New Zealand.

China has lifted its unofficial ban on Marvel titles, bestowing release dates for two major superhero tentpoles, "Black Panther: Wakanda Forever" and "Ant-Man and The Wasp: Quantumania." Variety reports: "Black Panther: Wakanda Forever," which was released everywhere else in the world last November, will open in China on Feb. 7. Shortly after, "Ant-Man and The Wasp: Quantumania" will be released on Feb. 17, the same day the sequel touches down in the U.S. and the U.K. The dates were released via Marvel's Chinese social media accounts.

Those movies will be the first Marvel adventures to play in China since 2019's "Avengers: Endgame" (which made a staggering $632 million in the territory) and "Spider-Man: Far From Home" (which brought in $198 million in the territory). In the past, Marvel movies have been extremely popular in China, with "Black Panther" grossing $105 million and "Ant-Man and the Wasp" earning $121 million in the country.

It's not clear why recent titles from Disney and other major studios have been denied release in China. But it is most likely sabre rattling directed towards the U.S. during a period of increased tensions, especially with jingoistic political events like the 100th anniversary of the Chinese Communist Party and the 20th National Congress happening in 2021 and 2022 respectively.

Netflix is expected to report its slowest quarterly revenue growth on Thursday as its ad-supported plan struggles to attract customers in the saturating U.S. market, which could pressure the company to pull back on content spending this year. Reuters reports: The streaming pioneer has been reeling under strained consumer spending, rising costs of financing production and increased competition from Disney+ and Amazon Prime. It had pinned its hopes on the launch of the ad-supported tier, but analysts say they have not seen a burst of subscriptions.

The company is expected to have added 4.5 million subscribers in the fourth quarter - the lowest addition for the holiday period since 2014. It added 8.3 million subscribers a year ago. The $6.99 per month ad-supported plan does not have access to all titles and is not cheap enough to win over significant numbers of customers in the United States and Canada, analysts say. That is likely to draw focus on Netflix's aggressive content spending, which finance chief Spencer Neumann said in July would total about $17 billion annually for the next couple of years.

"I saw the future at CES 2023," writes Geoffrey Morrison, describing "a new, top-secret prototype display technology" that could one day replace LCD and OLED for phones and TVs. "It was impossibly flat, like a vibrantly glowing piece of paper."

Meet electroluminescent quantum dots: Until now, quantum dots were always a supporting player in another technology's game. A futuristic booster for older tech, elevating that tech's performance. QDs weren't a character on their own. That is no longer the case. The prototype I saw was completely different. No traditional LEDs and no OLED. Instead of using light to excite quantum dots into emitting light, it uses electricity. Nothing but quantum dots. Electroluminescent, aka direct-view, quantum dots. This is huge.

Or at least, has the potential to be huge. Theoretically, this will mean thinner, more energy-efficient displays. It means displays that can be easier, as in cheaper, to manufacture. That could mean even less expensive, more efficient, bigger-screen TVs. The potential in picture quality is at least as good as QD-OLED, if not better. The tech is scalable from tiny, lightweight, high-brightness displays for next-generation VR headsets, to highly efficient phone screens, to high-performance flat-screen TVs.
The article predicts the simpler structure means "Essentially, you can print an entire QD display onto a surface without the heat required by other 'printable' tech.... Just about any flat or curved surface could be a screen." This leads to QD screens not just on TVs and phones, but on car windshields, eyeglass lenses, and even bus or subway windows. ("These will initially be pitched by cities as a way to show people important info, but inevitably they'll be used for advertising. That's certainly not a knock against the tech, just how things work in the world....")

Nanosys is calling this direct-view, electroluminescent quantum dot tech "nanoLED," and told CNET that "their as-yet-unnamed manufacturing partner is going to be talking more about the technology in a few months...

"Even Nanosys admits direct-view quantum dot displays are still several years away from mass production.... But 5-10 years from now we'll almost certainly have options for QD [quantum dot] displays in our phones, probably in our living rooms, and possibly on our windshields and windows."

In the mid-1970s, Chilean filmmaker Alejandro Jodorowsky tried to film Dune (working with artists including H.R. Giger). A documentary about that attempt was filmed by Frank Pavich, who now writes in the New York Times that "The cast would have included Mick Jagger, Orson Welles, Salvador Dalí and Alejandro's 12-year-old son, Brontis, in the lead role. The soundtrack would have been composed and recorded by Pink Floyd.... It will forever be the greatest film never made, because it exists solely in our imaginations."

Just because you cannot watch Alejandro's "Dune" doesn't mean it didn't change the world. This unfilmed film's influence on our culture is nothing short of astounding. Specific ideas and images from the "Dune" art bible have escaped into the world. They can be experienced in movies such as "Blade Runner," "Raiders of the Lost Ark," "Prometheus," "The Terminator" and even the original "Star Wars." His "Dune" does not exist, yet it's all around us.
Nearly half a century later... I was recently shown some frames from a film that I had never heard of: Alejandro Jodorowsky's 1976 version of "Tron." The sets were incredible. The actors, unfamiliar to me, looked fantastic in their roles. The costumes and lighting worked together perfectly. The images glowed with an extravagant and psychedelic sensibility that felt distinctly Jodorowskian.

However, Mr. Jodorowsky, the visionary Chilean filmmaker, never tried to make "Tron." I'm not even sure he knows what "Tron" is. And Disney's original "Tron" was released in 1982. So what 1970s film were these gorgeous stills from...? The truth is that these weren't stills from a long-lost movie. They weren't photos at all. These evocative, well-composed and tonally immaculate images were generated in seconds with the magic of artificial intelligence.
The article notes that the real Jodorowsky is now almost 94 — and is planning to direct a new film. But it also points out that in the early 1970s Jodorowsky's team put in "two years of pure analog struggle to create his Dune," — while Canadian film director Johnny Darrell generated the Tron images in less than a minute using an A.I. program called Midjourney. Pavich says this raises several questions. "Has Alejandro been robbed? Is the training of this A.I. model the greatest art heist in history? How much of art-making is theft, anyway?"

In his great documentary F for Fake Orson Welles intones wrly that "A forgery — is still a painting." So Pavich's piece concludes with perhaps the ultimate question. "What will it mean when directors, concept artists and film students... can paint using all the digitally archived visual material of human civilization? When our culture starts to be influenced by scenes, sets and images from old films that never existed or that haven't yet even been imagined?

"I have a feeling we're all about to find out."

A Canadian systems security consultant discovered that an Android TV box purchased from Amazon was pre-loaded with persistent, sophisticated malware baked into its firmware. BleepingComputer reports: The malware was discovered by Daniel Milisic, who created a script and instructions to help users nullify the payload and stop its communication with the C2 (command and control) server. The device in question is the T95 Android TV box with an AllWinner T616 processor, widely available through Amazon, AliExpress, and other big e-commerce platforms. It is unclear if this single device was affected or if all devices from this model or brand include the malicious component.

Milisic believes the malware installed on the device is a strain that resembles 'CopyCat,' a sophisticated Android malware first discovered by Check Point in 2017. This malware was previously seen in an adware campaign where it infected 14 million Android devices to make its operators over $1,500,000 in profits. The analyst tested the stage-1 malware sample on VirusTotal, where it returns only 13 detections out of 61 AV engine scans, classified with the generic term of an Android trojan downloader. [...]

Unfortunately, these inexpensive Android-based TV box devices follow an obscure route from manufacturing in China to global market availability. In many cases, these devices are sold under multiple brands and device names, with no clear indication of where they originate. [...] To avoid such risks, you can pick streaming devices from reputable vendors like Google Chromecast, Apple TV, NVIDIA Shield, Amazon Fire TV, and Roku Stick.

Sony has a pair of new Android Walkmans out, the NW-A300 and NW-ZX700. Ars Technica reports: We'll start with the most consumer-friendly of the two, the NW-A300. This basic design debuted in 2019 with the NW-A105, but that shipped with Android 9. This is an upgraded version of that device with a less-ancient version of Android, a new SoC, and a scalloped back design. In Sony's home of Japan, the 32GB version is 46,000 yen (about $360), while in Europe, it's 399 euro (about $430). The NW-A300 is a tiny little device that measures 56.6x98.5x12 mm, so pretty close to a deck of playing cards. [...] The front is dominated by a 3.6-inch, 60 Hz, 1280x720 touchscreen LCD. There's 32GB of storage, and the device supports Wi-Fi 802.11AC and Bluetooth 5. That's about all Sony wants to talk about for official specs. It touts "longer battery life" but won't say how big the battery is, promising only "36 hours* of 44.1 KHz FLAC playback, up to 32 hours* of 96 KHz FLAC High-Resolution Audio playback." Presumably, that's all with the screen off. [...] This is a music player, so of course, there's a headphone jack on the bottom of the unit. You'll also find a spot for a lanyard, a speedy USB-C 3.2 Gen1 port for quick music transfers, and a MicroSD slot for storing all your music. Buttons along the side of the device also give you every music control you could want, like a hold switch, previous, play/pause, next, volume controls, and power.

There's another new Sony Walkman, the NW-ZX700. It's 104,500 yen ($818) in Japan, and while that sounds like a lot for a portable music player, it's actually a relative bargain compared to the "Signature Series" NW-WM1ZM2, which goes for an eye-popping $3,700 thanks to audiophile hocus-pocus like a "gold plated, oxygen-free, copper body." Anyway, back to this $800 model. Unlike regular phone equipment, this has a proper audio amplifier with big, beefy capacitors to power the analog audio output. That makes it much bigger than the A300, at 72.6x132 mm and a whopping 17 mm thick. It also has two audio outs: a standard 3.5 mm headphone jack and a 4.4 mm "balanced" audio jack, which is used by some high-end audio equipment. I'm sure Sony has a wonderful headphone collection to match. [...] Both this and the A300 use the S-Master HX digital amplifier chip, which supports Sony's high-resolution "NativeDSD" audio format, which is also used on Super Audio CDs. If you're some kind of heathen that is just streaming 128kb Spotify, Sony's "DSEE Ultimate" feature dubiously claims to be able to "upscale" your music with AI. There's also a "Vinyl Processor" that will add record player noises to your audio for an "authentic listening experience."