If you have Spotify's soon-to-be-bricked Car Thing, there are a few ways you can give it a new lease on life. YouTuber Dammit Jeff has showcased modifications to Car Thing that makes the device useful as a desktop music controller, customizable shortcut tool, or a simple digital clock. Ars Technica's Kevin Purdy reports: Spotify had previously posted the code for its uboot and kernel to GitHub, under the very unassuming name "spsgsb" and with no announcement (as discovered by Josh Hendrickson). Jeff has one idea why the streaming giant might not have made much noise about it: "The truth is, this thing isn't really great at running anything." It has half a gigabyte of memory, 4GB of internal storage, and a "really crappy processor" (Amlogic S905D2 SoC) and is mostly good for controlling music.

How do you get in? The SoC has a built-in USB "burning mode," allowing for a connected computer, running the right toolkit, to open up root access and overwrite its firmware. Jeff has quite a few issues getting connected (check his video description for some guidance), but it's "drag and drop" once you're in. Jeff runs through a few of the most popular options for a repurposed Car Thing:

- DeskThing, which largely makes Spotify desk-friendly, but adds a tiny app store for weather (including Jeff's own WeatherWave), clocks, and alternate music controls
- GlanceThing, which keeps the music controls but also provides some Stream-Deck-like app-launching shortcuts for your main computer.
- Nocturne, currently invite-only, is a wholly redesigned Spotify interface that restores all its Spotify functionality.

Customers have formed new habits of regularly pausing subscriptions and returning to them within a year. From a report: As subscription prices rise and streaming-centric home entertainment becomes the norm, families are establishing their own hierarchies of always-on services versus those that come and go with seasons of hit shows or sports. New data from subscription analytics provider Antenna offer a deeper look at the subscription pausing habits customers are developing as services like Netflix, Disney+ and Apple TV+ become the go-to way of watching TV in many households, instead of cable.

The monthly median percentage of premium streaming video subscribers who rejoined the same service they had canceled within the prior year was 34.2% in the first nine months of 2024, up from 29.8% in 2022. The habit of pausing and resuming service means that the industrywide rate of customer defections, which has risen over the past year, is less pronounced than it appears. The average rate of U.S. customer cancellations among premium streaming video services reached 5.2% in August, but after factoring in re-subscribers, the rate of defections was lower at 3.5%.

The increasingly ingrained habit underscores the importance of streamers regularly delivering hit shows and films as well as live fare such as sporting events. Streaming services are trying to use a mix of bundles, promotions, well-timed marketing emails and lower-cost ad-supported plans to lure customers back faster or help them feel they are getting enough value to stick around longer.

"Now and Then" by the Beatles has been nominated for Record of the Year and Best Rock Performance at the 2025 Grammy Awards -- marking the first time a song created with the assistance of AI has earned a Grammy nomination. From a report: When "Now and Then" first came out in late 2023, the disclosure that it was finalized utilizing AI caused an uproar. At the time, many fans assumed that the remaining Fab Four members -- Paul McCartney and Ringo Starr -- must have used generative AI to deepfake the late John Lennon. That was not actually the case. Instead, the Beatles used a form of AI known as "stem separation" to help them clean up a 60-year-old, low-fidelity demo recorded by Lennon during his lifetime and to make it useable in a finished master recording.

With stem separation, the Beatles could isolate Lennon's vocal and get rid of excess noise. Proponents of this form of technology say it has major benefits for remastering and cleaning up older catalogs. Recently, AudioShake, a leading company in this space, struck a partnership with Disney Music Group to help the media giant clean up its older catalog to "unlock new listening and fan engagement experiences" like lyric videos, film/TV licensing opportunities, re-mastering and more.

With the debut of the Pirate Bay TV series in Sweden, international viewers are finding it surprisingly difficult to pirate. TorrentFreak reports: The series premiered at the on-demand platform of the Swedish national broadcaster SVT a few hours ago. International deals haven't been announced, but pirates can generally get access anyway. Soon after the first two episodes of The Pirate Bay series came out, scene release copies started circulating online. As one would expect.

The Scene group OLLONBORRE, which specializes in Swedish content, was the first to pick the show up. Within minutes, the first 1080p WEB-rips were posted on private scene servers and 720p copies followed a few hours later. Interestingly, pirate releases have yet to make their way to The Pirate Bay. We haven't seen any other copies on other public pirate sites either, which is surprising given the topic of the series.

It's common knowledge that The Scene -- a secretive network of release groups -- prefers to keep its releases private. Therefore, it wasn't happy with The Pirate Bay's public nature and rise to prominence in the early 2003s, which is highlighted in the first episodes of the TV series. However, we expected non-scene release groups would be eager to pick up the show. Apparently that's not the case, yet.

According to Deadline's Mike Fleming Jr, Lucasfilm is developing a new Star Wars trilogy. It will be written by Simon Kinberg, who will also produce the films alongside Lucasfilm chief Kathleen Kennedy. From the report: I heard this will comprise Episodes 10-12 of The Skywalker Saga that began with George Lucas's 1977 first film, which, along with Steven Spielberg's Jaws, reshaped the global blockbuster game. Insiders disputed my intel that Kinberg will continue that storyline, saying this instead will begin a new saga, and sit alongside percolating Star Wars projects with James Mangold, Sharmeen Obaid-Chinoy, Taika Waititi and Donald Glover. As usual, Lucasfilm and Disney are not commenting.

Kinberg previously worked with Lucasfilm in co-creating with Dave Filoni and Carrie Beck the Emmy-nominated animated series Star Wars Rebels that ran for four seasons from 2014-2018. He was also a consultant on Star Wars Episode VII: The Force Awakens, the J.J. Abrams-directed film that revived the franchise in 2015. He has also been heavily involved in other franchises as writer and/or producer.

An anonymous reader quotes a report from Variety: A "Mass Effect" TV series is officially in development at Amazon MGM Studios, Variety has learned exclusively. Daniel Casey is set to write and executive produce the adaptation. Karim Zreik will executive produce under his Cedar Tree Productions banner, with Ari Arad and EA's Michael Gamble also executive producing. Cedar Tree is currently under an overall deal at Amazon MGM Studios. Exact plot details are being kept under wraps. [...]

The first "Mass Effect" game launched to rave reviews in 2007. Since then, there have been three more games in the main series, with "Mass Effect: Andromeda" debuting in 2017. There have also been multiple mobile games in the franchise, as well as an animated film, novels, comic books, and other media. The story of the first three "Mass Effect" games revolves around Commander Shepard, a human soldier in the 22nd century trying to save humanity from a race of aliens known as the Reapers. "Andromeda" moved the games much further into the future with a new protagonist, with a fifth game also in the works. The franchise is developed by BioWare and are now published by EA. In 2010, EA announced plans to turn Mass Effect into a movie, but the project was later canceled. However, Ari Arad (known for co-founding Marvel Studios) led the initial effort and is now working to bring the film to life in this latest attempt.

Max will begin a gradual password-sharing crackdown with "soft messaging" over the next few months, with a potential price increase to follow. The Verge reports: During Warner Bros. Discovery's Q3 earnings call on Thursday, chief financial officer Gunnar Wiedenfels said this initial rollout would be followed by more progress in 2025 and 2026. Wiedenfels called password sharing "a form of price rises," as the company is "asking members who have not signed up, or multi-household members to pay a little bit more." This isn't the first time we've heard about Max's interest in password sharing, but now we have more details about when -- and how -- it will all begin. [...]

Wiedenfels didn't rule out the possibility of a Max price increase, either. He said that the "premium nature" of the service leaves "a fair amount of room to continue to push a price we've been judicious about." Max last raised prices across its ad-free plans in June.

An anonymous reader shares a report: When Parasite became the first non-English language film in Oscars history to win best picture in 2019, it marked a breakthrough moment for Korean cinema. But the surge of interest that followed the director Bong Joon-ho's international success has not translated into a thriving local film industry, according to another of its leading lights.

The director Jang Joon-hwan said K-cinema was struggling after the arrival of Netflix and other streaming platforms, with movies often rushed on to streaming platforms, and box office ticket sales suffering as a consequence. Jang, whose 2004 cult sci-fi comedy Save the Green Planet is being remade by the Poor Things director, Yorgos Lanthimos, said Korean cinema was going through a "very precarious period" because Korean viewers would increasingly prefer to wait for films to come out on streaming platforms than pay more to go to the cinema.

"I hope that such a day comes that Korean films are being introduced to wider audiences and we can all enjoy them together, however as a Korean film director in Korea, [it's] a very difficult and challenging time with the advent of Netflix and the [streaming] platforms. In this post-pandemic period cinemagoers have dropped dramatically, so investment has dropped. There are less Korean films being made," he said. But he acknowledged that platforms such as Netflix had "introduced a lot of new international fans to Korean content," through hit shows such as Squid Game.

According to The Verge, Netflix plans to delist almost all of its interactive shows and films as of December 1st. Only four of the 24 interactive titles will remain: Black Mirror: Bandersnatch, Unbreakable Kimmy Schmidt: Kimmy vs. the Reverend, Ranveer vs. Wild with Bear Grylls, and You vs. Wild. From the report: The removal of the titles marks a disappointing conclusion to Netflix's earliest efforts into interactive content. The company first launched the interactive titles in 2017 with Puss in Book: Trapped in an Epic Tale, and I remember being wowed (and horrified) by paths in Black Mirror: Bandersnatch. In addition to specials based on franchises like Carmen Sandiego and Boss Baby, Netflix also tried ideas like a daily trivia series and a trivia game you could play with a friend. But the relatively few titles available suggests the format wasn't much of a hit -- Puss in Book has apparently been gone for a while. "The technology served its purpose, but is now limiting as we focus on technological efforts in other areas," spokesperson Chrissy Kelleher says.

Amazon's Prime Video has introduced "X-Ray Recaps," a generative AI feature that will recap what you're watching. The new tool can create text summaries of "full seasons of TV shows, single episodes, and even pieces of episodes," the company says in a blog post. The Verge reports: X-Ray Recaps will be accessible from the detail page of a show or in X-Ray while you're watching something. The tool "analyzes various video segments, combined with subtitles or dialogue, to generate detailed descriptions of key events, places, times, and conversations," Amazon says. Amazon has also applied "guardrails" to help the feature avoid sharing spoilers and to keep summaries concise.

X-Ray Recaps, which is are beta, are coming to Fire TV devices starting today, with support for "additional devices" available by the end of this year, Amazon says. The feature, at launch, will work with all Amazon MGM Studios Original series.

This week's Ubuntu Summit 2024 was attended by Lproven (Slashdot reader #6,030). He's also a FOSS correspondent for the Register, where he's filed this report: One of the first full-length sessions was presented by David Morin, executive director of the Academy Software Foundation, introducing his organization in a talk about Open Source Software for Motion Pictures. Morin linked to the Visual Effects Society's VFX/Animation Studio Workstation Linux Report, highlighting the market share pie-chart, showing Rocky Linux 9 with at some 58 percent and the RHELatives in general at 90 percent of the market. Ubuntu 22 and 24 — the report's nomenclature, not this vulture's — got just 10.5 percent. We certainly didn't expect to see that at an Ubuntu event, with the latest two versions of Rocky Linux taking 80 percent of the studio workstation market...

What also struck us over the next three quarters of an hour is that Linux and open source in general seem to be huge components of the movie special effects industry — to an extent that we had not previously realized.
There's a "sizzle reel" showing examples of how major motion pictures used OpenColorIO, an open-source production tool for syncing color representations originally developed by Sony Pictures Imageworks. That tool is hosted by a collaboration between the Linux Foundation with the Science and Technology Council of the Academy of Motion Picture Arts and Sciences (the "Academy" of the Academy Awards). The collaboration — which goes by the name of the Academy Software Foundation — hosts 14 different projects The ASWF hasn't been around all that long — it was only founded in 2018. Despite the impact of the COVID pandemic, by 2022 it had achieved enough to fill a 45-page history called Open Source in Entertainment [PDF]. Morin told the crowd that it runs events, provides project marketing and infrastructure, as well as funding, training and education, and legal assistance. It tries to facilitate industry standards and does open source evangelism in the industry. An impressive list of members — with 17 Premier companies, 16 General ones, and another half a dozen Associate members — shows where some of the money comes from. It's a big list of big names. [Adobe, AMD, AWS, Autodesk...]
The presentation started with OpenVBD, a C++ library developed and donated by Dreamworks for working with three-dimensional voxel-based shapes. (In 2020 they created this sizzle reel, but this year they've unveiled a theme song.) Also featured was OpenEXR, originally developed at Industrial Light and Magic and sourced in 1999. (The article calls it "a specification and reference implementation of the EXR file format — a losslessly compressed image storage format for moving images at the highest possible dynamic range.")

"For an organization that is not one of the better-known ones in the FOSS space, we came away with the impression that the ASWF is busy," the article concludes. (Besides running Open Source Days and ASWF Dev Days, it also hosts several working groups like the Language Interop Project works on Rust bindings and the Continuous Integration Working Group on CI tools, There's generally very little of the old razzle-dazzle in the Linux world, but with the demise of SGI as the primary maker of graphics workstations — its brand now absorbed by Hewlett Packard Enterprise — the visual effects industry moved to Linux and it's doing amazing things with it. And Kubernetes wasn't even mentioned once.

Nintendo has announced a mobile app called Nintendo Music, which lets users listen to classic video game soundtracks from Nintendo games spanning the last few decades, including Splatoon, Animal Crossing, and The Legend of Zelda. According to The Verge, the app is available on iOS and Android but only Switch Online subscribers will be able to stream the tunes. From the report: The app features curated playlists themed around games, moments, moods, or characters, though you can also build your own. It also supports streaming as well as downloading tracks for offline listening. Curiously, it includes a spoiler feature that lets you filter out tracks that, somehow, might spoil a game you haven't played or finished yet. And if you just want some Hyrule white noise, the app also lets you "loop songs or extend select tracks to 15, 30, or 60 minutes for uninterrupted listening." Here's a list of all the regions the app will be available in.

An anonymous reader quotes a report from the European Space Agency: White dots arranged in five clusters against a black background (PNG). This is the simulated extraterrestrial signal transmitted from Mars and deciphered by a father and a daughter on Earth after a year-long decoding effort. On June 7, 2024, media artist Daniela de Paulis received this simple, retro-looking image depicting five amino acids in her inbox. It was the solution to a cosmic puzzle beamed from ESA's ExoMars Trace Gas Orbiter (TGO) in May 2023, when the European spacecraft played alien as part of the multidisciplinary art project 'A Sign in Space.' After three radio astronomy observatories on Earth intercepted the signal, the challenge was first to extract the message from the raw data of the radio signal, and secondly to decode it. In just 10 days, a community of 5000 citizen scientists gathered online and managed to extract the signal. The second task took longer and required some visionary minds.

US citizens Ken and Keli Chaffin cracked the code following their intuition and running simulations for hours and days on end. The father and daughter team discovered that the message contained movement, suggesting some sort of cellular formation and life forms. Amino acids and proteins are the building blocks of life. Now that the cryptic signal has been deciphered, the quest for meaning begins. The interpretation of the message, like any art piece, remains open. Daniela crafted the message with a small group of astronomers and computer scientists, with support from ESA, the SETI Institute and the Green Bank Observatory. The artist and collaborators behind the project are now taking a step back and witnessing how citizen scientists are shaping the challenge on their own.

Oscar winner Robert Downey Jr. has threatened legal action against future studio executives who attempt to recreate his likeness using AI. "I intend to sue all future executives just on spec," Downey said when asked about potential AI recreations of his performances. He dismissed concerns about Marvel Studios using his likeness without permission, citing trust in their leadership. During the interview, he criticized tech executives who position themselves as AI gatekeepers, calling it "a massive fucking error."

An anonymous reader quotes a report from the Hollywood Reporter: Grab your wagons and oxen, and get ready to ford a river: A movie adaptation of the popular grade school computer game Oregon Trail is in development at Apple. The studio landed the film pitch, still in early development, that has Will Speck and Josh Gordon attached to direct and produce. EGOT winners Benj Pasek and Justin Paul will provide original music and produce via their Ampersand production banner. Sources tell The Hollywood Reporter that the movie will feature a couple of original musical numbers in the vein of Barbie.

The Lucas Bros. (Judas and the Black Messiah) and Max Reisman are set to pen the screenplay about the game that is meant to mimic 19th-century pioneer times, following a covered wagon train heading west. Created in 1971, the game reached cult status among American grade schoolers by the 1990s as one of the first educational computer games allowed in schools -- and for its hilariously dark storylines filled with broken arms, typhoid and dysentery. The film will likely debut on Apple TV+, but details are scarce at the moment.

Speaking of streaming services, an anonymous reader shares a story that looks into Apple's entertainment offering: Ever since its launch in 2019, Apple TV+ has been carving out an identity as the new home for prestige shows from some of Hollywood's biggest names -- the kind of shows that sound natural coming out of Jimmy Kimmel's mouth in monologue jokes at the Emmys. While the company never provides spending details, Apple is estimated to have spent at least $20 billion recruiting the likes of Reese Witherspoon, M. Night Shayamalan, and Harrison Ford to help cultivate its award-worthy sheen. For all the effort Apple has expended, and for all the cultural excitement around Ted Lasso during its three-season run, the streaming service has won nearly 500 Emmys ... while attracting just 0.2% of total TV viewing in the U.S.

No wonder the company reportedly began reining in its spending spree recently. (Apple did not reply to a request for comment.) "It seems like Apple TV wants to be seen as a platform that's numbers-agnostic," says Ashley Ray, comedian, TV writer, and host of the erstwhile podcast TV I Say. "They wanna be known for being about the creativity and the love of making TV shows, even if nobody's watching them."

The experience of enjoying a new Apple TV+ series can often be a lonely one. Adventurous subscribers might see an in-network ad about something like last summer's Sunny, the timely, genre-bending Rashida Jones series about murderous AI, and give it a shot -- only to find that nobody else is talking about it in their social media feeds or around the company Keurig machine. Sure, the same could be said for hundreds of other streaming series in the post-monoculture era, but most streaming companies aren't consistently landing as much marquee talent for such a limited library. (Apple currently has 259 TV shows and films compared to Netflix's nearly 16,000.)

How is it possible for a streaming service to have as much high-pedigree programming as Apple TV+ does and so relatively few viewers, despite an estimated 25 million paid subscribers? How can shows starring Natalie Portman, Idris Elba, and Colin Farrell launch and even get renewed without ever quite grazing the zeitgeist? How does a show set in the same Monsterverse as Godzilla vs. Kong, and starring Kurt Russell and his roguishly charming son, not become a monster-size hit?

For many perplexed observers, the blame falls squarely on Apple's marketing efforts, or seeming lack thereof.

An anonymous reader shares a report: Subscription fees for video streaming services have been on a steady incline. But despite subscribers paying more, surveys suggest they're becoming less satisfied with what's available to watch.

At the start of 2024, the industry began declaring the end of Peak TV, a term coined by FX Networks Chairman John Landgraf that refers to an era of rampant content spending that gave us shows like The Wire, Breaking Bad, and Game of Thrones. For streaming services, the Peak TV era meant trying to lure subscribers with original content that was often buoyed by critical acclaim and/or top-tier actors, writers, and/or directors. However, as streaming services struggle to reach or maintain profitability, 2024 saw a drop in the number of new scripted shows for the first time in at least 10 years, FX Research found.

Meanwhile, overall satisfaction with the quality of content available on streaming services seems to have declined for the past couple of years. Most surveys suggest a generally small decline in perceived quality, but that's still perturbing considering how frequently streaming services increase subscription fees. There was a time when a streaming subscription represented an exclusive ticket to viewing some of the best new TV shows and movies. But we've reached a point where the most streamed TV show last year was Suits -- an original from the USA Network cable channel that ended in 2019.

More than 10,500 artists and creators -- including ABBA's Bjorn Ulvaeus, actress Julianne Moore, actors Kevin Bacon and F. Murray Abraham, as well as former Saturday Night Live star Kate McKinnon, author James Patterson and Radiohead's Thom Yorke -- signed a statement condemning AI companies' unauthorized use of creative works for training their models. The initiative, led by former AI executive Ed Newton-Rex, demands an end to unlicensed training data collection amid mounting legal challenges against tech firms. "The unlicensed use of creative works for training generative AI is a major, unjust threat to the livelihoods of the people behind those works, and must not be permitted," reads the statement.

The protest comes as major artists and publishers battle AI developers in court. Authors John Grisham and George R.R. Martin are suing OpenAI, while record labels Universal, Sony and Warner have filed lawsuits against AI music creators Suno and Udio. The signatories reject proposed "opt-out" schemes for content scraping, calling instead for explicit creator consent.

An anonymous reader quotes a report from the Hollywood Reporter: A production company for Blade Runner 2049 has sued (PDF) Tesla, which allegedly fed images from the movie into an artificial intelligence image generator to create unlicensed promotional materials. Alcon Entertainment, in a lawsuit filed Monday in California federal court, accuses Elon Musk and his autonomous vehicle company of misappropriating the movie's brand to promote its robotaxi at a glitzy unveiling earlier this month. The producer says it doesn't want Blade Runner 2049 to be affiliated with Musk because of his "extreme political and social views," pointing to ongoing efforts with potential partners for an upcoming TV series.

The complaint, which brings claims for copyright infringement and false endorsement, also names Warner Bros. Discovery for allegedly facilitating the partnership. "Any prudent brand considering any Tesla partnership has to take Musk's massively amplified, highly politicized, capricious and arbitrary behavior, which sometimes veers into hate speech, into account," states the complaint. "Alcon did not want BR2049 to be affiliated with Musk." [...] The lawsuit cites an agreement, the details of which are unknown to Alcon, for Warners to lease or license studio lot space, access and other materials to Tesla for the event. Alcon alleges that the deal included promotional elements allowing Tesla to affiliate its products with WBD movies. WBD was Alcon's domestic distributor for the 2017 release of Blade Runner 2049. It has limited clip licensing rights, though not for Tesla's livestream TV event, the lawsuit claims.

Alcon says it wasn't informed about the brand deal until the day of the unveiling. According to the complaint, Musk communicated to WBD that he wanted to associate the robotaxi with the film. He asked the company for permission to use a still directly from the movie, which prompted an employee to send an emergency request for clearance to Alcon since international rights would be involved, the lawsuit says. The producer refused, spurring the creation of the AI images. [...] Alcon seeks unspecified damages, as well as a court order barring Tesla from further distributing the disputed promotional materials. Musk referenced Denis Villeneuve's Blade Runner movie during the robotaxi event. "You know, I love Blade Runner, but I don't know if we want that future," he said. "I believe we want that duster he's wearing, but not the, uh, not the bleak apocalypse."

I, Robot director Alex Proyas also took to X last week, writing: "Hey Elon, Can I have my designs back please?"

An anonymous reader shared this report from ComicBook.com: On Saturday, 20th Century Studios announced that the latest entry in the Alien sci-fi horror franchise will get a limited-edition VHS release on December 3 — just in time for the holidays.

The VHS release of Alien: Romulus is the first such release from a major studio since 2006... a major win for fans of physical media. In recent months, there has been a great bit of conversation surrounding the so-called death of physical media with the rise of digital and streaming with some retailers even having previously announced that they have or will be stopping sales of physical media. But with streaming platforms removing content for various reasons, there's been a rise in appreciation for physical media which has, in turn, resulted in increased sales, particularly when it comes to limited edition items such as Steelbooks [collectible steel-case disc releases]... Given that the Alien: Romulus VHS release is part of an overall celebration of the franchise for its 45th anniversary year, leaning into that nostalgia for feels pretty spot on.
The release will present the movie "in a 4:3 aspect ratio," writes the Verge, "hopefully with well-done pan-and-scan..." (Their post includes a promotional picture showing the "slick, vintage-style" box-cover art.)

"The tape has only the film," notes Gizmodo, "and no special featurette attached at the end, like some used to back in the day."

Gizmodo also reminds readers of Hulu's 2025 series Alien: Earth and an upcoming videogame sequel to 2014's Alien: Isolation.