An anonymous reader quotes a report from Techdirt: The "cord cutting" phenomenon the cable and broadcast sector long denied or downplayed simply shows no sign of slowing down. According to the latest data by Leichtman Research, the top U.S. pay TV companies lost another 785,000 subscribers last quarter as younger Americans continue to shift to streaming video, over the air antennas, or free services like TikTok and YouTube. While alternative pay TV services (streaming on demand and live streaming) services saw a 701,000 subscriber jump during the third quarter, traditional cable companies lost an estimated 981,674 subscribers depart for greener pastures. Phone companies (AT&T, Verizon) and traditional satellite TV companies (DirecTV, Dish) lost 701,000 paying subscribers during the quarter.

Leichtman's analysis never really answers why consumers continue to flee traditional cable (high prices, bloated channel bundles, bullshit fees, comically terrible customer service), instead only focusing on the fact that this was the third best quarter for streaming services in history: "Spurred by a strong quarter from Internet-delivered vMVPD services, pay-TV net losses of about 785,000 in 3Q 2022 were more modest than in the first two quarters of the year," said Bruce Leichtman, president and principal analyst for Leichtman Research Group, Inc. "Not including YouTube TV, which does not regularly report subscriber totals, vMVPDs had nearly 900,000 net additions in the quarter. This was the third most quarterly net adds ever for the top publicly reporting vMVPD services."

Netflix's trailblazing DVD-by-mail rental service has been relegated as a relic in the age of video streaming, but there is still a steady -- albeit shrinking -- audience of diehards who are happily paying to receive those discs in the iconic red-and-white envelopes. From a report: Netflix declined to comment for this story but during a 2018 media event, co-founder and co-CEO of Netflix Reed Hastings suggested the DVD-by-mail service might close around 2023. When -- not if -- it happens, Netflix will shut down a service that has shipped more than 5 billion discs across the U.S. since its inception nearly a quarter century ago. And it will echo the downfall of the thousands of Blockbuster video rental stores that closed because they couldn't counter the threat posed by Netflix's DVD-by-mail alternative.

Shortly before breakup from video streaming, the DVD-by-mail service boasted more than 16 million subscribers, a number that has now dwindled to an estimated 1.5 million subscribers, all in the U.S., based on calculations drawn from Netflix's limited disclosures of the service in its quarterly reports. Netflix's video streaming service now boasts 223 million worldwide subscribers, including 74 million in the U.S. and Canada. "The DVD-by-mail business has bequeathed the Netflix that everyone now knows and watches today," Marc Randolph, Netflix's original CEO, said during an interview at a coffee shop located across the street from the post office in Santa Cruz, California.

An anonymous reader quotes a report from Ars Technica: The Comcast "Broadcast TV" fee that isn't included in the company's advertised prices is rising again, tacking as much as $27 onto the monthly bills of cable TV users. Comcast's Broadcast TV and Regional Sports Network fees combined could add nearly $40 to a customer's monthly TV bill after next month's price hikes, all while Comcast advertises much lower prices than people actually pay. "Comcast has started notifying customers and municipalities that it plans to raise video and Internet prices next month, including a whopping $7.35 a month increase for the Broadcast TV fee in one town," a TV Answer Man article said on Saturday. The $7.35-per-month increase is in Taunton, Massachusetts, where Comcast said the Broadcast TV fee will rise from $18.65 to $26.

The Broadcast TV fee is rising from $24.95 a month to $27.25 a month starting on December 20 in Sandown, New Hampshire, a letter (PDF) from Comcast to town government officials said. In Sandown, the Regional Sports Network fee is rising from $11.85 to $12. The TV Answer Man report also said several towns in Michigan were "alerted that the Broadcast Fee will rise from $14.80 to $20.70 a month while the monthly Regional Sports fee will go from $9.50 to $10.15." These are just a few examples as Comcast is raising prices nationwide.

The Broadcast TV charges added to customer bills vary by region. Comcast says the fees are based on the amounts that "broadcast stations charge us to carry them on our cable systems." It's true that Comcast has to pay retransmission consent fees to carry the stations, even though stations can be accessed for free over the air with an antenna. But the sneaky manner in which Comcast and other cable companies pass those costs on to customers can lead to bill shock and unexpected price increases. Comcast's advertised prices do not include the Broadcast TV or the Regional Sports Network fees even though these fees account for a large portion of customers' actual monthly bills. On Comcast's ordering website, the base prices are listed along with a message stating that Broadcast TV and Regional Sports fees are "extra" and that the price is "subject to change." The Broadcast TV and Regional Sports fees also aren't included in how Comcast calculates promotional pricing and thus can be raised even when a customer's promotional rate hasn't expired. Comcast says it's also raising the base prices of monthly service plans, saying the average increase nationwide is 3.8 percent.

Comcast's statement on the price increases blamed the rising cost of video programming but said the overall increases are lower than the most recent inflation rate: "TV networks and other video programmers continue to raise their prices, with broadcast television and sports being the biggest drivers of increases in customers' bills. We're continuing to work hard to manage these costs for our customers while investing in our broadband network to provide the best, most reliable Internet service in the country and to give our customers more low-cost choices in video and connectivity so they can find a package that fits their lifestyle and budget. Our national average increase of 3.8 percent is about half of the most recent rate of inflation."

Some people turn on closed captions because they like how it helps them understand the plotlines of shows and movies, and multitask in front of the tube. Others turn them on because they can't hear what actors are saying. That doesn't always mean they are hard of hearing. From a report: Muddled audio is the top reason why more people are watching video with on-screen text, according to a May survey commissioned by language-teaching app Preply. As more video-production studios embrace advanced audio formats for at-home content, not every device can keep up. Plenty of viewers can't keep up, either.

"If you have people talking or shouting during the adventure scenes, the explode-y sounds are way higher than the dialogue," said Melanie Brooks, a 43-year-old professional musician in Boston. Catching some of the lines in her favorite fantasy and adventure TV series is hard without captions, she added. People tend to blame their flat-screen TVs for bad sound. The tube TVs of decades past had front-facing speakers that sent audio toward you, while new, super-thin models have speakers that are behind the screen or point downward, bouncing sound away from you. But your TV is just one of the culprits. The rest of the problem lies within virtually every other step of the audio process, from a studio's production choices to the device used to watch the content, said Richard Nevens, senior director of audio-hardware product management at Avid Technology, which specializes in audio- and video-editing tools.

Sound mixers combine all the sound in the video, including dialogue, music and background noises, into the audio we hear when we watch movies and shows. The professionals have advanced audio capabilities at their disposal, but they might not translate clearly on devices that aren't built to support state-of-the-art audio, Mr. Nevens said. For this reason, a movie designed to sound great in a giant theater might not sound the same on your smartphone -- or your TV.

James Cameron once got himself onto the list for a potential visit to the International Space Station. It's just one of several surprising scientific achievements buried deep inside GQ's massive 7,000-word profile: After James Cameron's Avatar came out in 2009 and made $2.7 billion, the director found the deepest point that exists in all of earth's oceans and, in time, he dove to it. When Cameron reached the bottom of the Mariana Trench, a couple of hundred miles off the southwest coast of Guam, in March 2012, he became the first person in history to descend the 6.8-mile distance solo, and one of only a few people to ever go that deep....

It would be fair to call him the father of the modern action movie, which he helped invent with his debut, The Terminator, and then reinvent with his second, Aliens; it would be accurate to add that he has directed two of the three top-grossing films in history, in Avatar (number one) and Titanic (number three). But he is also a scientist — a camera he helped design served as the model for one that is currently on Mars, attached to the Mars rover — and an adventurer, and not in the dilettante billionaire sense; when Cameron sets out to do something, it gets done. "The man was born with an explorer's instincts and capacity," Daniel Goldin, the former head of NASA, told me....

The original Avatar... required the invention of dozens of new technologies, from the cameras Cameron shot with to the digital effects he used to transform human actors into animated creatures to the language those creatures spoke in the film. For [his upcoming Avatar sequel] The Way of Water, Cameron told me, he and his team started all over again. They needed new cameras that could shoot underwater and a motion-capture system that could collect separate shots from above and below water and integrate them into a unified virtual image; they needed new algorithms, new AI, to translate what Cameron shot into what you see....

Among other things, Cameron said, The Way of Water would be a friendly but pointed rebuke to the comic book blockbusters that now war with Cameron's films at the top of the box office lists: "I was consciously thinking to myself, Okay, all these superheroes, they never have kids. They never really have to deal with the real things that hold you down and give you feet of clay in the real world." Sigourney Weaver, who starred in the first Avatar as a human scientist and returns for The Way of Water as a Na'vi teenager, told me that the parallels between the life of the director and the life of his characters were far from accidental: "Jim loves his family so much, and I feel that love in our film. It's as personal a film as he's ever made."
Another interesting detail from the article: Cameron and his wife became vegetarians over a decade ago, built their own pea-protein facility in Saskatchewan, and though they later sold it Cameron says he "pretty much" loves farming and pea protein as much as movies. And he once suggested re-branding the word vegan as "futurevore," since "We're eating the way people will eat in the future. We're just doing it early."

But in a 29-minute video interview, Cameron also fondly discusses his earlier ground-breaking films, even as GQ's writer notes their new trajectory. "It is a curious fact that Cameron has directed only two feature films in the last 25 years — and perhaps more curious that both are Avatar installments, and perhaps even more curious that the next three films he hopes to direct are also Avatar sequels....

"Cameron told me he'd already shot all of a third Avatar, and the first act of a fourth. There is a script for a fifth and an intention to make it, as long as the business of Avatar holds up between now and then. It seems entirely possible — maybe even probable — that Cameron will never make another non-Avatar film again."

"People just seem to really enjoy coming together to pretend fake things are real," writes the Guardian.

"Thousands of Tumblr users have been making posters, soundtracks, drawings and fan fiction for a 1973 Scorsese film starring Robert De Niro — but it never existed." Released in 1973, the little-seen Scorsese flick starred Robert De Niro as Goncharov, "a former discotheque owner who comes to Naples after the fall of the Soviet Union" with the goal of becoming a mob boss. Harvey Keitel plays the eye-patched Andrey (or Andrei) "The Banker" Daddano; Gene Hackman plays Valery Michailov; Al Pacino appears as Mario Ambrosini and Cybill Shepherd plays Goncharov's wife, Katya. Apparently, it was really good and was added to the Criterion Collection.

And you've never heard of it because it doesn't actually exist....

A few years ago, a Tumblr user posted a photo of some "knockoff boots" they had ordered online that had a very strange tag on the tongue: "The greatest mafia movie ever made. Martin Scorsese presents GONCHAROV. Domenico Proccacci production. A film by Matteo JWHJ0715. About the Naples Mafia." This mostly went ignored until 2020, when another Tumblr user reblogged a comment made on the original post, reading: "this idiot hasn't seen goncharov...."

The internet works in mysterious ways; earlier this month, Tumblr user beelzeebub made a fake poster for the film, tens of thousands of people were suddenly sharing it and lo: a new Scorsese film was born... [L]ike all of the best jokes, people have really committed to the bit. There's the film's poster, which has the tagline "greatest mafia movie (n)ever made". A music teacher in Indiana composed a theme song for Goncharov, inspired by The Godfather. There is also a cash-in video game, with an accompanying soundtrack, and a fake VHS.

"Academics" wrote essays analysing the film, which were published in (fake) film journals. A representative for the movie reviewing platform Letterboxd even told the New York Times that they had had to remove multiple reviews for the film that had been submitted by users.

For the last thirteen years the Free Software Foundation has published its Ethical Tech Giving Guide, notes a recent FSF blog post. "The right to determine what a device you've purchased does or doesn't do is something too valuable to lose."

Or, as they put it in the guide: It's time to reclaim our freedom from the abuse of multinational corporations, who use proprietary software and malicious "antifeatures" to keep us powerless, dependent, and surveilled by the devices that we use. There's no time at which it's more important to turn these unfortunate facts into positive action than the holiday season.

The gifts that we recommend here might not be making headlines, but they're the rare exception to the apparent rule that devices should mistreat their users.
For technical users, the guide recommends pairing the FSF-sponsored Replicant, a fully-free distribution of Android, with the F-Droid app repository, which has hundreds of applications including Syncthing, Tor, Minetest, and Termux.

They also praise the X200 laptop, "one of the few home user devices that's able to run fully free software from top to bottom." With easy-to-repair hardware, it's the laptop most frequently used in the FSF's own office — just one of several freedom-respecting devices from Vikings. And there's shout-outs to MNT's Reform laptop, products from PINE64 and Purism, plus a freedom-respecting VPN, and a mini wifi adapter .

The guide even recommends places to buy DRM-free ebooks, including No Starch Press, Smashwords, Leanpub, Standard Ebooks, Nantucket E-Books, Libreture (which also offers a storage solution). Meanwhile for print books, there's the Gnu Press Shop

And it also recommends sources for DRM-free music (including Bandcamp, Emusic, the Smithsonian Institute's Folkways, the classic punk label Dischord, HDTracks, and Mutopia).

And it also tells you where to find free (as in freedom) films...

Despite Apple Music supporting lossless streaming, wireless AirPods only support lossy Bluetooth codecs. Apple engineer Esge Andersen tells WhatHiFi that's not really an issue: "We want to push the sound quality forward, and we can do that with a lot of other elements. We don't think that the codec currently is the limitation of audio quality on Bluetooth products."

Netflix agreed to some exclusive theatrical distribution for "Glass Onion" and "Matilda the Musical," but it's not clear exhibitors will get much more. From a report: "Glass Onion: A Knives Out Mystery," the much-anticipated follow-up to the 2019 sleeper hit directed by Rian Johnson, was supposed to be the moment Netflix crossed the Rubicon. Rather than give the film a perfunctory theatrical release -- a strategy designed to ensure most viewers ultimately watch a movie on the streaming service -- Netflix, in a first, would give the film a traditional, exclusive run in a large number of cinemas. It didn't happen.

After much back and forth, and contrary to the wishes of some Netflix employees and Mr. Johnson, a theatrical release for "Glass Onion" that at one point some people inside the company hoped would reach up to 2,000 screens ended up at 638 in the United States. The movie, which was released on Wednesday and has received positive reviews, will run in theaters for just one week before becoming available on Netflix on Dec. 23. What was supposed to be the moment to prove the value of theaters to the streaming giant will not come to pass. Yet the company is also involved in another intriguing theatrical experiment this weekend, one that could end up providing Netflix with even more valuable feedback.

On Friday, "Matilda the Musical," financed and produced by Netflix, will open on more than 1,500 screens in 670 locations across the United Kingdom and Ireland. The movie, starring Emma Thompson as the villainous Miss Trunchbull, will be released and promoted by Sony Pictures, which, in a unique one-picture deal, licensed the rights to Netflix on the condition that Sony could hold onto the United Kingdom for a theatrical release. ("Matilda," which is based on a stage musical that itself is based on a children's book by Roald Dahl, is beloved in the United Kingdom. The musical has been running in London's West End since 2011.) "It will be a good example of what could be done," said Tim Richards, founder and chief executive of Vue International, a London-based exhibitor with theaters in countries including the United Kingdom, Denmark, Germany and Italy. âoeIf there was ever a film made for the big screen, it's 'Matilda.'"

Cinemas stocks got a boost Wednesday after a report said Amazon plans to spend $1 billion a year on theatrical film releases. CNBC reports: The tech company plans to make between 12 and 15 movies for movie theaters each year, Bloomberg reported, citing people familiar with the matter. A smaller number of films will be produced in 2023 as Amazon builds up its output, the report said. Cinemark jumped 11% on the news, with IMAX up 7% and AMC up 5%.

Last.fm turned 20 years old over the weekend and users are still tracking their music playback hundreds of thousands of times a day. The Verge's Jacob Kastrenakes writes: Last.fm felt just a little bit revolutionary when it was first introduced in the early 2000s. The site's plug-ins -- which were originally created for a different service called Audioscrobbler -- tapped into your music player, took note of everything you listened to, and then displayed all kinds of statistics about your listening habits. Plus, it could recommend tracks and artists to you based on what other people with similar listening habits were interested in. "If this catches on, a system like this would be a really effective way to discover new artists and find people with similar tastes," the blogger Andy Baio wrote in February 2003 after first trying it out.

This was very much a precursor to the algorithmic recommendation systems that are built into every music streaming service today. Spotify, Apple Music, Tidal -- whatever it is you're listening to, they're all tracking your habits and using that to recommend new tracks to you. But on those services, your data is kept hidden behind the scenes. Using Last.fm was like having access to your year-end Spotify Wrapped but available every single day and always updating.

Streaming services' automated recommendations have largely obviated the need for a platform like Last.fm (I certainly haven't scrobbled anything in more than a decade). But I poked around, and it turns out there are still corners of the internet building vibrant communities around its features. One of the big uses is on Discord, where third-party developers have built a service called .fmbot that integrates scrobbling data into the popular chat room app. Thom, a backend developer based in the Netherlands, says the bot has more than 400,000 total users, with 40,000 people engaging with the service each day. It's particularly popular in Discords based around specific musical artists or genres -- where people "want to compare their statistics to each other" -- and among servers for small friend groups, so they can "dive deeper into what everyone is listening to," he says. The bot pulls in fun stats that people can brag about: the date of when they first listened to a given song, just how many days' worth of music they consumed each year, or a list of their top albums. In 2008, we ran a story from Slashdot reader Rob Spengler about Last.fm's "mountain of data." Not only did he note how Last.fm was the "largest online radio outlet" at the time, surpassing Pandora and others, but he (hilariously, in hindsight) posed the question: "Does sitting on a mountain of data make Last.FM powerful enough to start making a stand against the record industry?"

Netflix's new anthology series "Kaleidoscope" will give viewers their own unique experience watching a team of skillful thieves attempt to pull off a robbery they've been planning for over 20 years. From a report: In a sneak peek clip, the cast and crew share the intricacies of the series and how it's making a new spin on the traditional anthology series. "Every episode had multiple connections to every other episode," said the show's creator, showrunner and executive producer Eric Garcia in the clip. Garcia is also one of the "Kaleidoscope" writers.

In the eight-part series, the audience will follow "a crew of masterful thieves and their attempt to crack a seemingly unbreakable vault for the biggest payday in history. Guarded by the world's most powerful corporate security team, and with law enforcement on the case, every episode reveals a piece of an elaborate puzzle of corruption, greed, vengeance, scheming, loyalties and betrayals," reads a description of the show, which premieres on Netflix Jan. 1.

How expensive is "Avatar: The Way of Water"? Early reports have claimed the production budget alone was in the $250 million range, but director James Cameron isn't willing to give a hard number just yet. The only answer Cameron would give about the sequel's budget when asked by GQ magazine was the following: "Very fucking [expensive]." From a report: Cameron apparently told Disney and 20th Century Studios executives that his sequel budget was so high it represented "the worst business case in movie history." According to the director's estimates, "you have to be the third or fourth highest-grossing film in history. That's your threshold. That's your break even."

On the current chart of highest-grossing movies worldwide (unadjusted for inflation), Cameron's original 2009 "Avatar" ranks at the top with $2.9 billion. Disney's "Avengers: Endgame" is in second position with $2.7 billion, while Cameron's "Titanic" remains in the third slot with $2.1 billion. That means, according to Cameron, that if "Avatar: The Way of Water" wants to break even, it'll need to overtake either âoeStar Wars: The Force Awakens" ($2.07 billion) or "Avengers: Infinity War" ($2.05 billion) in the fourth or fifth slots, respectively.

In 1999, Slashdot editor Hemos said Greg Bear was "rightly recognized as a master of hard science fiction" (introducing a review of Bear's then-new book, Nebula-winning book Darwin's Radio). In 2011 Bear began writing the Forerunner Saga , a trilogy of books set 100,000 years before the events in the game Halo.

Today theGamer.com writes that Bear has passed away at age 71: Bear's family and fans are paying tribute to the legendary author, who had more than 50 sci-fi novels to his name. Many share fond memories of reading Bear's work and meeting him at conventions, describing him as generous, welcoming, and brilliant. Fans are also sharing their favourite books from Bear in tribute, encouraging others to explore his works to celebrate his legacy.

Bear's wife, Astrid Bear, confirmed the news of his passing in the early hours of Sunday. This was after she revealed that her husband has been placed on life support, with no chance of making a full recovery after the stroke.
More from File770.com: Bear's novels won Nebulas for Moving Mars (1995) and Darwin's Radio. Three other works of short fiction won Nebulas, and two of those — "Blood Music" (1984) and "Tangents" (1987) — also won the Hugo....

Bear sold his first short story, "Destroyers", to Famous Science Fiction at age 15, and along with high-school friends helped found San Diego Comic-Con.

He also published work as an artist at the beginning of his career, including illustrations for an early version of theÂStar Trek Concordance,Âand covers forÂGalaxyÂandÂF&SF. He was a founding member of the Association of Science Fiction Artists. He even created the cover for his novel, Psychlone...

Ticketmaster provoked ire with a botched sale of tickets to Taylor Swift's first concert in five years. NPR reports: On Thursday afternoon, the day before tickets were due to open to the general public, Ticketmaster announced that the sale had been cancelled altogether due to "extraordinarily high demands on ticketing systems and insufficient remaining ticket inventory to meet that demand." Taylor Swift broke her silence on Friday in statement on Instagram in which she said it is "excruciating for me to watch mistakes happen with no recourse." She said there are many reasons people had a hard time getting tickets, and she's trying to figure out how to improve the situation moving forward. "I'm not going to make excuses for anyone because we asked them, multiple times, if they could handle this kind of demand and we were assured they could," she wrote, without naming Ticketmaster.
America's Justice Department "has opened an antitrust investigation into the owner of Ticketmaster," reports the New York Times. But the investigation "predates the botched sale" and "is focused on whether Live Nation Entertainment has abused its power over the multibillion-dollar live music industry." The new investigation is the latest scrutiny of Live Nation Entertainment, which is the product of a merger between Live Nation and Ticketmaster that the Justice Department approved in 2010. That created a giant in the live entertainment business that still has no equals in its reach or power.... The debacle involving Ms. Swift's concert tickets this week has exacerbated complaints in the music business and in Washington that Live Nation's power has constrained competition and harmed consumers.
Or, as NPR puts it, "The frenzy has brought renewed scrutiny to the giant Ticketmaster, which critics have long accused of abusing its market power at the expense of consumers." Would-be concertgoers have complained vocally about recent incidents with near-instant sellouts and skyrocketing prices, and artists like Pearl Jam and Bruce Springsteen have feuded with it over the decades. One common complaint is that there doesn't seem to be a clear alternative or competitor to Ticketmaster, especially after it merged with concert provider Live Nation in 2010 (a controversial move that required conditional approval from the U.S. Department of Justice).

Now Tennessee's attorney general, a Republican, is opening a consumer protection investigation into the incident. North Carolina's attorney general announced on Thursday that his office is investigating Ticketmaster for allegedly violating consumers' rights and antitrust laws. And multiple Democratic lawmakers are asking questions about the company's dominance â" not for the first time.... "Taylor Swift's tour sale is a perfect example of how the Live Nation/Ticketmaster merger harms consumers by creating a near-monopoly," tweeted Sen. Richard Blumenthal (D-Conn.), one of several lawmakers who has long called for investigation and accountability into the company, especially after becoming a subsidiary of concert behemoth Live Nation.
The article also cites a Thursday statement from Ticketmaster: The company says that using Verified Fan invite codes has historically helped manage the volume of users visiting the website to buy tickets, though that wasn't the case on Tuesday. "The staggering number of bot attacks as well as fans who didn't have invite codes drove unprecedented traffic on our site, resulting in 3.5 billion total system requests â" 4x our previous peak," it said, adding that it slowed down some sales and pushed back others to stabilize its systems, resulting in longer wait times for some users.

It estimates that about 15% of interactions across the website experienced issues, which it said is "15% too many."
The Tuesday sale also broke Ticketmaster's record for most tickets sold for an artist in a single day," reports People, "selling two million tickets."

Thanks to long-time Slashdot reader SpzToid for submitting the story.

Earlier this month, agents from both the FBI and the U.S. Air Force raided multiple homes belonging to a man who runs a little-known blog about Area 51. Gizmodo reports: That man, Joerg Arnu, said the swarm of federal agents in riot gear busted into his primary residence, handcuffed him, then marched him outside to wait in the freezing cold while they rifled through his apartment and took pretty much every piece of electronic equipment that he owned. So far, the government has been pretty tight-lipped about the whole thing, but officials did verify that it happened. In a statement provided to the Las Vegas Review-Journal, Lt. Col. Bryon McGarry confirmed the raid. He did not elaborate on its purpose, saying only: "This is an open and ongoing law enforcement investigation between the Las Vegas FBI and Air Force OSI."

What did cops want? It's not exactly clear. Since 1999, Arnu has run Dreamland Resort, a website that covers activities in and around Area 51, the notoriously secretive government facility located in Groom Lake, Nevada. Long the subject of speculation and curiosity, the highly classified facility is the site of myriad UFO sightings. Coincidentally (or not), it is also the location where the Air Force reportedly tests and develops some of its most sensitive and experimental new projects and aircraft (see: the U-2 spy plane in the 1950s, for instance). Among other things, Arnu's site features pictures and writing about the Air Force's so-called "black projects" -- opaque, classified operations carried out behind a veil of government secrecy. Arnu claims that the agents confiscated his "laptops, phones, backup drives, camera gear, and my drone were seized." He describes the situation in detail in a blog post on his website.

A new study has found that Apple's wireless earbuds can serve as a more affordable and accessible sound amplification device than medical hearing aids. Gizmodo reports: Inspired by a feature called Live Listen released in 2016 by Apple, which allows an iPhone or iPad to be used as sound-boosting microphone, researchers from the Taipei Veterans General Hospital wondered whether the performance of AirPods 2 and the original AirPods Pro using this feature could compare to medical hearing aids. Apple does not position Live Listen as a tool for those dealing with hearing loss but as a way for users with normal hearing to boost desired sounds, like the calls of a bird. However, the researchers found that, in some situations, consumer-level personal sound amplification products faired quite well against pricier medically prescribed solutions, and given the popularity of products like Apple's AirPods, there's no stigma associated with wearing them.

The researchers tested the $129 AirPods 2 and $249 AirPods Pro paired with iPhone XS Max smartphones running iOS 13. They compared these against the $10,000 OTICON Opn 1 behind-the-ear hearing aids and a more affordable alternative, the $1,500 Bernafon MD1. The four options were tested with 21 participants dealing with mild to moderate hearing loss, who were asked to repeat short sentences read to them by the researchers in varying environments. In a quiet setting, the AirPods Pro were found to perform as well as the cheaper hearing aids and almost as good as the premium model, while the Air Pods 2 performed the worst of all four tested devices but still helped participants hear what was being read to them more clearly than not using a sound-enhancing device at all. In a noisy environment, the AirPods Pro performed even closer to the premium hearing aid model, thanks to their built-in noise cancellation, but only when the distracting noises were coming from the sides of the participant. When the noise was coming from the front, alongside the sample sentences being read by the researchers, both wireless earbud products failed to help improve what was being heard. "Hearing aids remain the best option for those dealing with hearing loss, but for those who don't have access to them for whatever reason, a cheaper product like Apple's AirPods Pro could provide noticeable improvements in hearing and clarity for those dealing with mild-to-moderate hearing loss and could serve as a useful alternative until over-the-counter solutions are more readily available and affordable," concludes the report.

Earlier this year, the Food and Drug Administration decided to allow hearing aids to be sold over the counter and without a prescription to adults, a decision that "could fundamentally change technology," said Nicholas Reed, an audiologist at the Department of Epidemiology at Johns Hopkins Bloomberg School of Public Health. Sony's first OTC hearing aids were announced last month.

An anonymous reader quotes a report from Motherboard: Over a dozen public libraries in the U.S. and Canada have begun offering their own music streaming services to patrons, with the goal of boosting artists and local music scenes. The services are region-specific, and offer local artists non-exclusive licenses to make their albums available to the community. The concept originated in 2014 when Preston Austin and Kelly Hiser helped the Madison Public Library build the Yahara Music Library, an online library hosting music from local artists. By the time they completed their work on Yahara, they were confident they had a software prototype that other interested libraries could customize and deploy. "That became kind of the inspiration for building MUSICat," Austin told Motherboard, referring to the software platform he and Hiser created under a startup called Rabble.

Now, public libraries in Pittsburgh, Nashville, Fort Worth, and most recently New Orleans have launched their own community-oriented streaming services using MUSICat's open source software. Joshua Smith works at New Orleans Public Library and has been embedded in the city's rich music scene for over a decade. He oversaw the launch of Crescent City Sounds with help from a team of curators that represent local artists and business owners, music journalists and historians and more. "They helped me get the word out to the music community," Smith told Motherboard, noting that their community status helped spread the word that the library now accepts digital music submissions. Smith says that for this first round, the curators accepted albums from artists that were released in the last five years, and that while living within city limits wasn't necessarily a deal breaker, not gigging regularly in the area was. To be considered, applicants needed to submit at least one track from their album. [...] He says each selected artist received a $250 honorarium to license their music to the New Orleans Public Library for five years -- a far cry from the fractions-of-a-penny per stream paid to independent artists by platforms like Spotify. This honorarium and licensing agreement is roughly the standard for public libraries following Rabble's process model. Austin does insist that libraries using MUSICat meet the basic criteria of paying artists to license their work to their libraries. But for everything else, Austin notes that these pre-established models are guidelines, not guardrails.

One example of a public library that took MUSICat and ran with it is Capital City Records -- the music streaming platform of the Edmonton Public Library in Alberta, Canada. An early adopter of MUSICat, the library's collection has grown to amass over 200 local musicians. The project also created opportunities for the library to engage in spin-off projects like limited run of vinyl pressings and running library-focused music events throughout the city. While over 2,000 artists are featured on one of MUSICat's music platforms, Austin says the company wants to continue forming partnerships with libraries on the local level. So for music lovers looking to jump ship from Spotify, he has a clear message: "This is not Spotify for libraries," Austin said. "It's a little different. The localness is kind of key. I don't think we could, for example, use the same strategy on the same fee to license on aggregate collection, which was all the local music from all the libraries available on the music hat app, right, like something like that would need to, it would need to be about the local collections and take people to them and let them play that music in context."

An anonymous reader writes that Seagate Technology has launched its second generation dual actuator MACH.2 series hard drives. "Computing power, storage capacities, and storage performance: all must continue moving forward in order for technology innovators to solve humanity's greatest challenges," boasts Seagate's page for the drives: MACH.2 is the world's first multi-actuator hard drive technology, containing two independent actuators that transfer data concurrently. MACH.2 solves the need for increased performance by enabling parallelism of data flows in and out of a single hard drive. By allowing the data center host computer to request and receive data from two areas of the drive simultaneously, MACH.2 doubles the IOPS performance of each individual hard drive.... MACH.2 provides up to 2x performance — with two independent actuators and data paths, it enables concurrent I/O streams to and from the host.
Seagate claims it offers "optimal latency" by improving sequential peformance to double data transfer rates over single-actuator drives.

And in other news, Seagate is selling hard drives with commemorative Star Wars themes, including the Mandalorian drive, the Grogu drive, and the Boba Fett drive. (It's in addition to Seagate's officially licensed external drive for God of War Ragnarök — optimised for PS4 and PS5, delivering "the ability to play PS4 games directly from the drive.") Seagate also made drives commemorating Marvel's Avengers and Spider-Man, and now has new drives for Marvel's Black Panther: Wakanda Forever .

"Cixin Liu's sci-fi novel The Three-Body Problem can't stop jumping to other formats," reports Gizmodo: In addition to next year's Netflix series from The Terror: Infamy's Alexander Woo and Game of Thrones creators David Benioff and DB Weiss, last year saw the release of a serialized podcast (different from the audiobook version).

And for 2022, we've got an animated series that's premiering actually pretty soon.

Come December 3, an anime version of The Three-Body Problem will release on the Chinese streaming platform Bilibili. This series was originally announced in 2019 with a trailer, but things have been fairly quiet on that front up until now. Developed by CG studio YHTK Entertainment in partnership with The Three-Body Universe, a studio built specifically for the purpose of managing the franchise, a new trailer for the upcoming anime was released earlier in the week during a Bilibili anime showcase.
"Having enjoyed the book, I think it looks promising," writes Slashdot reader Camembert. The 2008 book was the first in Liu's hard sci-fi series Remembrance of Earth's Past — and according to Gizmodo, this is just the beginning: Bilibili's adaptation is the first of a larger initiative called the Three-Body Global Creator Project. Per the press release, animation studios across the world are permitted to explore the Remembrance franchise to showcase its global potential through various art and animation styles....

And if animation or Netflix aren't your bag, Tencent Video has made a live action version of The Three-Body Problem, though that version has yet to receive a release date.