Drivers of certain vehicles in Seattle and other parts of Western Washington are shouting at their car radios this week. Not because of any particular song or news item that's being broadcast, but because an apparent technical glitch has caused the radios to be stuck on public radio station KUOW. From a report: The impacted drivers appear to all be owners of Mazda vehicles from between 2014 and 2017. In some cases the in-car infotainment systems have stopped working altogether, derailing the ability to listen to the radio at all or use Bluetooth phone connections, GPS, the rear camera and more. According to Mazda drivers who spoke with GeekWire, and others in a Reddit thread discussing the dilemma, everyone who has had an issue was listening to KUOW 94.9 in recent weeks when the car systems went haywire. KUOW sounded unsure of a possible cause; at least one dealership service department blamed 5G; and Mazda told GeekWire in an official statement that it identified the problem and a fix is planned.

Douglas Trumbull, the visual effects mastermind behind Blade Runner, Close Encounter of the Third Kind, 2001: A Space Odyssey and numerous others, died on Monday at age 79. His daughter Amy Trumbull announced the news on Facebook, writing that her father's death followed a "two-year battle" with cancer, a brain tumor and stroke. Engadget reports: Trumbull was born on April 8, 1942 in Los Angeles, the son of a mechanical engineer and artist. His father worked on the special effects for films including The Wizard of Oz and Star Wars: A New Hope. The younger Trumbull worked as an illustrator and airbrush artist in Hollywood for many years. His career really took off after he cold-called Stanley Kubrick, a conversation which led to a job working on 2001: A Space Odyssey.

One of his most significant contributions to 2001 was creating the film's Star Gate, a ground-breaking scene where astronaut Dave Bowman hurtles through an illuminated tunnel transcending space and time. In order to meet Kubrick's high aesthetic standards for the shot, Trumbull essentially designed a way to turn the film camera inside-out. Trumbull's ad hoc technique "was completely breaking the concept of what a camera is supposed to do," he said during a lecture at TIFF. Trumbull earned visual effects Oscar nominations for his work on Close Encounters, Star Trek: The Motion Picture and Blade Runner. He also received the President's Award from the American Society of Cinematographers in 1996.

Later in his career, Trumbull voiced distaste over the impact of computers on visual effects, decrying the cheapening and flattening impact of the new era of CGI. [...] He spent the last years of his life working on a new super-immersive film format he dubbed MAGI, which he believed would improve the experience of watching a film in theaters. But Trumbull struggled to draw the interest of today's film industry.

Last month streamers in China discovered that Fight Club had arrived on streaming platform Tencent — but with an entirely new ending where local authorities "rapidly figured out the whole plan and arrested all criminals....."

But now there's been another round of changes, according to the Hollywood Reporter. "After widespread online backlash to clumsy censorship of the film's ending, Chinese streaming service Tencent Video backtracked in recent days and restored most of the cuts it had made." Crucially, Fight Club's complete ending is now viewable in full in China...

News of the cuts went viral around the world and sparked much debate and embarrassment on Chinese social media about local censorship practices.... [I]t would appear that the backlash has been deemed more troublesome than the fictional film's ending, as Tencent has now restored 11 of the 12 minutes it originally cut from the 137-minute movie. The minute still missing is mostly comprised of brief nude sex scenes between Brad Pitt's and Helena Bonham Carter's characters.
Insider reports that changing the original ending provoked comments like these on China's Twitter-like platform Weibo:

- "This has become a Chinese-only joke. Even dogs won't want to watch this."

- "This is exactly why, even if you have streaming platform subscriptions, you still have to watch pirated versions."


And it brought massive attention to China's history of changing movies, notes the Wrap since "word quickly spread across the globe, bringing embarrassment to the country," reports the Wrap: Censorship of American films and TV shows at the behest of Chinese officials has become common as Hollywood has made in-roads in the country over the past decade. Last year, an episode of "The Simpsons" in which the titular family visits China was removed from Disney+ in Hong Kong over a joke made in the film about the Tiananmen Square protests in 1989 and the Chinese government's censorship of the event.
Even the South China Morning Post reported that Chuck Palahniuk, the author of the novel that inspired the film, "appeared to mock the move on Twitter. 'Everyone gets a happy ending in China!' he wrote..." Similar changes have been made to other films in China in the past. Nicolas Cage's 2005 crime film Lord of War had its final half-hour cut and replaced with text reading, "Yuri Orlov confessed all the crimes officially charged against him in court and was sentenced to life imprisonment in the end."
And another example from the Hollywood Reporter: After 20th Century Fox's Queen biopic Bohemian Rhapsody won multiple Oscars in the 2018, it was granted a theatrical release in China — but only after all mentions of Freddie Mercury's homosexuality were cut from the film.
But in this case a global popular outcry appears to have been too embarrasing to endure. According to the Hollywood Reporter now we even have an expected ending to the story of how China tried to censor Fight Club.

"Reversals of censorship actions are extremely rare within China's entertainment industry — but cuts to Hollywood movies are not."

"Old songs now represent 70 percent of the U.S. music market, according to the latest numbers from MRC Data, a music-analytics firm." So writes Ted Gioia, author of the Substack music/pop culture newsletter "The Honest Broker". But it gets worse: "The new-music market is actually shrinking. All the growth in the market is coming from old songs. The 200 most popular new tracks now regularly account for less than 5 percent of total streams. That rate was twice as high just three years ago....."

The signs are everywhere — including the fact that viewership for the music industry's Grammy awards plummeted 53% this year to just 8.8 million. "More people pay attention to streams of video games on Twitch (which now gets 30 million daily visitors)."

And even then, "When a new song overcomes these obstacles and actually becomes a hit, the risk of copyright lawsuits is greater than ever before.... Adding to the nightmare, dead musicians are now coming back to life in virtual form — via holograms and 'deepfake' music — making it all the harder for young, living artists to compete in the marketplace."

But in the end the real problem may ultimately be that "nothing is less interesting to music executives than a completely radical new kind of music." Who can blame them for feeling this way? The radio stations will play only songs that fit the dominant formulas, which haven't changed much in decades. The algorithms curating so much of our new music are even worse. Music algorithms are designed to be feedback loops, ensuring that the promoted new songs are virtually identical to your favorite old songs. Anything that genuinely breaks the mold is excluded from consideration almost as a rule. That's actually how the current system has been designed to work.

Even the music genres famous for shaking up the world — rock or jazz or hip-hop — face this same deadening industry mindset. I love jazz, but many of the radio stations focused on that genre play songs that sound almost the same as what they featured 10 or 20 years ago. In many instances, they actually are the same songs.

This state of affairs is not inevitable. A lot of musicians around the world — especially in Los Angeles and London — are conducting a bold dialogue between jazz and other contemporary styles. They are even bringing jazz back as dance music. But the songs they release sound dangerously different from older jazz, and are thus excluded from many radio stations for that same reason. The very boldness with which they embrace the future becomes the reason they get rejected by the gatekeepers. A country record needs to sound a certain way to get played on most country radio stations or playlists, and the sound those DJs and algorithms are looking for dates back to the prior century. And don't even get me started on the classical-music industry, which works hard to avoid showcasing the creativity of the current generation. We are living in an amazing era of classical composition, with one tiny problem: The institutions controlling the genre don't want you to hear it.

The problem isn't a lack of good new music. It's an institutional failure to discover and nurture it.
So while the author acknowledges that "The fear of copyright lawsuits has made many in the industry deathly afraid of listening to unsolicited demo recordings," far deeper than that is the problem that, "The people running the music industry have lost confidence in new music."

Yet if there's any hope, the author argues, it's that people "crave something that sounds fresh and exciting and different.... Songs can go viral nowadays without the entertainment industry even noticing until it has already happened. That will be how this story ends: not with the marginalization of new music, but with something radical emerging from an unexpected place...."

"The CEOs are the last to know. That's what gives me solace.... The decision makers controlling our music institutions have lost the thread. We're lucky that the music is too powerful for them to kill."

Tally includes broken vases, dislocated shoulders, injured girlfriends; "Why don't you go to the gym like a normal person?" WSJ: A few hours after Toby Robicelli first strapped on the $300 virtual-reality headset he got for Christmas, the Baltimore teenager, who was playing a shooter game called "Superhot VR," lost his balance and fractured his kneecap. "We set it up around 2:00," said Toby's mother, Allison Robicelli, of the tech gadget, "and by 8:00 we were on our way to the ER." She fainted when she saw his leg, she said, and Toby, 14, is now using crutches. Sales of VR headsets rose more than 70% last year from 2020, according to International Data Corp., to 7.9 million units. Demand is driven in part by rising hype around the metaverse, a term proponents use to describe a future 3-D version of the internet, comprising virtual worlds where people will get together to work, learn and play. With interest in the devices growing, so is their reputation for being a source of pain and embarrassment.

On Monday, famed singer-songwriter Neil Young had his music removed from Spotify as a protest against the platform's distribution of Joe Rogan, who's been widely criticized for spreading misinformation about COVID-19 vaccines on his Spotify-exclusive podcast. Now, Neil's fans are taking their frustrations out on Spotify. Ars Technica reports: Though the loss of Young's music likely represents a small percentage of overall streams on Spotify, Young pointed out that "Spotify represents 60% of the streaming of my music to listeners around the world." For Young and his fans, the hit was palpable, and his fans are apparently taking their frustrations out on Spotify. The hashtag #SpotifyDeleted trended on Twitter yesterday, and fans seem to have inundated customer support with so many messages that Spotify has had to take it offline at times. "We're currently getting a lot of contacts so may be slow to respond," a large red banner has read on the support page. Options to message the company, which have previously included live chat with a customer support agent or a chat bot, are now limited to an email address link.

"When I left Spotify, I felt better," Young wrote on his website today. "I support free speech. I have never been in favor of censorship. Private companies have the right to choose what they profit from, just as I can choose not to have my music support a platform that disseminates harmful information. I am happy and proud to stand in solidarity with the front line health care workers who risk their lives every day to help others." The artist, who has long criticized audio quality on streaming services, and on Spotify in particular, closed with one last dig. "As an unexpected bonus, I sound better everywhere else," he wrote.

LG has announced a new offering to advertisers that promises to be able to reach the company's millions of connected devices in households across the country, pummeling TV viewers with -- you guessed it -- targeted ads. From a report: While ads playing on your connected TV might not be anything new, some of the metrics the company plans to hand over to advertisers include targeting viewers by specific demographics, for example, or being able to tie a TV ad view to someone's in-store purchase down the line. If you swap out a TV screen for a computer screen, the kind of microtargeting that LG's offering doesn't sound any different than what a company like Facebook or Google would offer. That's kind of the point.

Online ad spending reached more than $490 billion by the end of last year, and those numbers are only going to keep going up as more advertisers look for more ways to track and target more people online. Traditional TV ad spend, meanwhile, has tanked since its peak around 2016. In order to lure ad dollars back, folks in the television space, like LG, are using every tool at their disposal to claw back the ad dollars the internet's taken away. And it's clearly working. While traditional TV ad spend has plummeted, there's never been more money spent on advertising across the digitally connected TVs offered by companies like LG. Roku, for example, recently announced an upcoming Shopify integration that would let retailers target TV viewers with more ads for more of their products. Amazon rolled out a new beta platform that lets networks promote apps, movies, or TV shows to people right from the device's home screen. And I don't need to remind Samsung TV owners how their devices are getting absolutely plastered with ads from every conceivable angle.

Spotify has removed famed singer-songwriter Neil Young's recordings from its streaming platform. From a report: On Monday, Young had briefly posted an open letter on his own website, asking his management and record label to remove his music from the streaming giant, as a protest against the platform's distribution of podcaster Joe Rogan. Rogan has been widely criticized for spreading misinformation about coronavirus vaccines on his podcast, which is now distributed exclusively on Spotify. Late Wednesday, the musician posted two lengthy statements on his website, one addressing the catalyst of his request and the other thanking his industry partners. In the first, he wrote in part: "I first learned of this problem by reading that 200-plus doctors had joined forces, taking on the dangerous life-threatening COVID falsehoods found in Spotify programming. Most of the listeners hearing the unfactual, misleading and false COVID information of Spotify are 24 years old, impressionable and easy to swing to the wrong side of the truth. These young people believe Spotify would never present grossly unfactual information. They unfortunately are wrong. I knew I had to try to point that out."

As of last week, more than 1,000 doctors, scientists and health professionals had signed that open letter to Spotify. According to Rolling Stone, Young's original request on Monday, which was addressed to his manager and an executive at Warner Music Group, read in part: "I am doing this because Spotify is spreading fake information about vaccines -- potentially causing death to those who believe the disinformation being spread by them ... They can have Rogan or Young. Not both." The letter was quickly removed from Young's website. Spotify's scrubbing of Young from its service was first reported on Wednesday afternoon by The Wall Street Journal. His removal from the streaming platform makes him one of the most popular musical artists not to appear on Spotify, where his songs have garnered hundreds of millions of streams.

The first rule of Fight Club in China? Don't mention the original ending. The second rule of Fight Club in China? Change it so the police win. From a report: China has some of the world's most restrictive censorship rules with authorities only approving a handful of foreign films for release each year -- sometimes with major cuts. Among the latest movies to undergo such treatment is David Fincher's 1999 cult classic "Fight Club" starring Brad Pitt and Edward Norton. Film fans in China noticed over the weekend that a version of the movie newly available on streaming platform Tencent Video was given a makeover that transforms the anarchist, anti-capitalist message that made the film a global hit.

In the closing scenes of the original, Norton's character The Narrator, kills off his imaginary alter ego Tyler Durden -- played by Pitt -- and then watches multiple buildings explode, suggesting his character's plan to bring down modern civilisation is underway. But the new version in China has a very different take. The Narrator still proceeds with killing off Durden, but the exploding building scene is replaced with a black screen and a coda: "The police rapidly figured out the whole plan and arrested all criminals, successfully preventing the bomb from exploding". It then adds that Tyler -- a figment of The Narrator's imagination -- was sent to a "lunatic asylum" for psychological treatment and was later discharged. The new ending in which the state triumphs sparked head scratching and outrage among many Chinese viewers -- many of whom would likely have seen pirated versions of the unadulterated version film.
UPDATE (2/6/2022): After a widespread outcry and coverage around the globe, Fight Club's original ending has been restored for streamers in China.

Slashdot reader DevNull127 shares this transcript of James Cameron's new interview with the BBC — which they've titled "The Danger of Deepfakes."

"Almost everything we create seems to go wrong at some point," James Cameron says... James Cameron: Almost everything we create seems to go wrong at some point. I've worked at the cutting edge of visual effects, and our goal has been progressively to get more and more photo-real. And so every time we improve these tools, we're actually in a sense building a toolset to create fake media — and we're seeing it happening now. Right now the tools are — the people just playing around on apps aren't that great. But over time, those limitations will go away. Things that you see and fully believe you're seeing could be faked.

This is the great problem with us relying on video. The news cycles happen so fast, and people respond so quickly, you could have a major incident take place between the interval between when the deepfake drops and when it's exposed as a fake. We've seen situations — you know, Arab Spring being a classic example — where with social media, the uprising was practically overnight.

You have to really emphasize critical thinking. Where did you hear that? You know, we have all these search tools available, but people don't use them. Understand your source. Investigate your source. Is your source credible?

But we also shouldn't be prone to this ridiculous conspiracy paranoia. People in the science community don't just go, 'Oh that's great!' when some scientist, you know, publishes their results. No, you go in for this big period of peer review. It's got to be vetted and checked. And the more radical a finding, the more peer review there is. So good peer-reviewed science can't lie. But people's minds, for some reason, will go to the sexier, more thriller-movie interpretation of reality than the obvious one.

I always use Occam's razor — you know, Occam's razor's a great philosophical tool. It says the simplest explanation is the likeliest. And conspiracy theories are all too complicated. People aren't that good, human systems aren't that good, people can't keep a secret to save their lives, and most people in positions of power are bumbling stooges. The fact that we think that they could realistically pull off these — these complex plots? I don't buy any of that crap! Bill Gates is not really trying to microchip you with the flu vaccine! [Laughs]

You know, look, I'm always skeptical of new technology, and we all should be. Every single advancement in technology that's ever been created has been weaponized. I say this to AI scientists all the time, and they go, 'No, no, no, we've got this under control.' You know, 'We just give the AIs the right goals...' So who's deciding what those goals are? The people that put up the money for the research, right? Which are all either big business or defense. So you're going to teach these new sentient entities to be either greedy or murderous.

If Skynet wanted to take over and wipe us out, it would actually look a lot like what's going on right now. It's not going to have to — like, wipe out the entire, you know, biosphere and environment with nuclear weapons to do it. It's going to be so much easier and less energy required to just turn our minds against ourselves. All Skynet would have to do is just deepfake a bunch of people, pit them against each other, stir up a lot of foment, and just run this giant deepfake on humanity.

I mean, I could be a projection of an AI right now.

The Washington Post reports that three of the world's most prominent live-streaming stars "received notifications of copyright infringement after broadcasting TV shows to their millions-strong fanbases on Twitch."

"The days that followed produced copious amounts of Twitch's most common byproduct, online drama, but also focused attention on the murky and legally complicated question of what constitutes fair use of copyright materials such as TV shows and movies...." In 2007 Viacom sued YouTube for copyright infringement. Though the court ultimately ruled in favor of YouTube, the suit paved the way for the "Content ID" system, which automatically identifies copyright content and aggressively polices the platform. While software that can scan Twitch already exists, Twitch has yet to create its own automated system, and it does not appear to be in the process of doing so, according to industry figures with knowledge of Twitch's operations who weren't authorized to speak publicly.

Such an outcome becomes more likely, however, if advertisers start withdrawing from the platform for fear of being associated with risky content, something that's already beginning to happen on Twitch according to Devin Nash, chief marketing officer of content creator-focused talent agency Novo...

The "react content" trend often hinges on broadcasting copyright material, like popular movies or TV shows, a practice which skirts the outer edges of platform rules. Earlier this month, Viacom and the History Channel/A&E (which is owned by Hearst and Disney) issued copyright claims — also known as Digital Millennium Copyright Act (DMCA) takedown requests — to specific streamers.... The DMCA-centric discourse left streamers and viewers on Twitch with ample drama but no clear answer as to whether one of the platform's go-to trends merely faces a few bumps in the road or an asteroid-sized extinction event. "Nothing could happen, or everything could happen," Cassell added. "And it rests on the decisions of a handful of media rights holders...."

Some streamers, such as Piker and Felix "xQc" Lengyel, both of whom started reacting to clips from sites like YouTube long before the current react meta began, argue reaction content should be permitted since Twitch is essentially built on copyright infringement. Streaming a video game is technically a DMCA-able offense. The video game industry, however, has decided to allow the practice because the free publicity and resulting sales tend to outweigh any potential downsides. But television is a different beast, with its economics rooted in broadcast rights rather than individual unit sales....

This awkward and unceasing dance around the topic has been fueled in part by the fact that Twitch is incentivized to maintain its ignorance of copyright infractions taking place on their platform.... But the silence has added stress to streamers whose livelihoods could be impacted by decisions around the current DMCA practices....
The Post also spoke to game/esports/entertainment lawyer David Philip Graham, who believes copyright law itself is due for an overhaul. "Much of our current copyright regime isn't really about authors' rights or promoting the progress of science and useful arts, but about big businesses looking for easier routes to profitability," Graham said.

He proposes shortening copyright term lengths — and also expanding permissions for derivative works.

"Netflix's stock has tumbled 41% from the all-time high it hit just two months ago," reports CNN Business.

"It's gaining subscribers at a painfully slow pace. Competition is heating up. The company's answer to all that: It just raised prices on North American customers." Netflix ended 2021 with 221.8 million subscribers. That's significantly more than others in the streaming marketplace, including Disney, one of its closest competitors. Disney had 118.1 million subscribers as of October, and it grew subscriptions 60% between October 2020 and October 2021. During that same period, Netflix grew just 9%. Disney hasn't yet reported its financial results for the last three months of 2021. But Netflix's growth slowed even further in the fourth quarter to just 8%. (And Disney's growth last quarter spooked Wall Street too....)

The problem with relying exclusively on subscriptions for revenue is: after a while, you run out of people who haven't subscribed. That's bad news for Wall Street investors who are mostly concerned with companies' abilities to grow. Zak Shaikh, vice president of programming at research-based media firm Magid, believes that Netflix's fall is more of "a Wall Street thing" rather than "something that reflects the business is in trouble.... They still added subs, and they still have the same high usage and viewing metrics," he added. However, even Shaikh pointed out that in the long term, "Netflix will have to deal with the fact that you can't keep adding subscribers."

One way the company has tried to offset its slowing growth is by investing in other verticals, such as gaming. Another way is to raise prices, but that could prove difficult as fierce competition ramps up. Although price increases will probably help to offset its sluggish sign ups, they could also lead to more stagnation for Netflix. For some consumers, price increases — even small ones — are a lot to ask considering that so many competitors are at Netflix's gates.
Michael Nathanson, a media analyst at MoffettNathanson, specifically predicted to CNN Business that 2022 will be a year "of concern about growth and competition for Netflix."

In 2021, there was an upsurge in peculiar sightings reported, thanks to people with smartphones or other video gear that captured these strange glimmers in the sky. In 2022, UAP will get more attention from both the scientific community and the federal government, experts told Space.com. From the report: One potential major development in 2022 will be UFO detection, according to Mark Rodeghier, scientific director of the Center for UFO Studies in Chicago. "The effort to detect, track and measure the UFO phenomenon in the field, in real time, has recently entered a new phase," Rodeghier told Space.com. "The technology has gotten better, software tools have improved and the current interest in UFOs has attracted new, qualified professionals. "While one can't predict how soon we will gain new, fundamental knowledge about UAP/UFOs, I believe that these efforts are very likely to succeed and set UFO research onto a new foundation of reliable, physical data," Rodeghier added. "And as a consequence, we will have even more evidence -- as if it was needed -- that the UFO phenomenon is real and can be studied scientifically."

One upcoming initiative, called the Galileo Project, will search for extraterrestrial equipment near Earth. It has two branches. The first aims to identify the nature of interstellar objects that do not resemble comets or asteroids -- like 'Oumuamua, the first known interstellar object to visit the solar system. The second branch targets UAP, similar to those of interest to the U.S. government. "The Galileo Project's data will be open to the public, and its scientific analysis will be transparent," said Harvard astronomer Avi Loeb, who is spearheading the project. "The related scientific findings would expand humanity's knowledge, with no attention to borders between nations." The Galileo research team includes more than 100 scientists who plan to assemble the project's first telescope system on the roof of the Harvard College Observatory in spring 2022. "The system will record continuous video and audio of the entire sky in the visible, infrared and radio bands, as well as track objects of interest," Loeb said. "Artificial intelligence algorithms will distinguish birds from drones, airplanes or something else. Once the first system will operate successfully, the Galileo Project will make copies of it and distribute them in many geographical locations."

Currently, there is a lack of coordination among organizations involved in UAP detection equipment, but that may change this year, said Robert Powell, an executive board member of the Scientific Coalition for UAP Studies (SCU) in Austin, Texas. "I believe that will improve as we go into 2022," he said. A number of SCU members are involved with the Galileo Project, and the organization has partnered with several groups, including UFODATA, the UFO Data Acquisition Project (UFODAP) and UAPx. "UFODAP already has a working model that has been sold into the marketplace and is reasonably priced in the $2,000 to $5,000 range, depending on the accessories desired," Powell told Space.com. "This system has already been used by a group known as UAPx to collect data. Our goal is to coordinate these activities in a way such that we use a system with standardized equipment set to collect data." But before that happens, Powell said, the groups need to plot out exactly what that equipment is trying to measure and verify that the system can achieve that goal.

The Missouri State Highway Patrol alert sent cellphones blaring statewide: Authorities in Gotham City, Missouri, were searching for a purple and green 1978 Dodge 3700GT. From a report: But there is no Gotham City, Missouri, and the car referenced was the one used by the Joker in the 1989 "Batman" movie. Soon after the Tuesday evening alert, the patrol sent another saying to disregard it. In a brief news release, the patrol said a routine test of Missouri's Blue Alert system was inadvertently transmitted statewide. The system is meant to let the public know when a police officer is killed or seriously injured in the line of duty.

Cable operators would face more competition for the roughly one-third of Americans living in apartment buildings under an order advanced Friday at the U.S. Federal Communications Commission. From a report: FCC Chairwoman Jessica Rosenworcel asked fellow commissioners to approve a measure that she said would "crack down on practices that lock out broadband competition and consumer choice." The order would prohibit cable service providers from entering into certain revenue sharing agreements with a building owner, and seek to ease alternative providers' access to the wiring of buildings, Rosenworcel said in a news release. The order would affect more than one-third of the U.S. population who live in apartments, mobile home parks, condominiums and public housing, Rosenworcel said. The order needs to succeed in a vote before the FCC, which is split with two Democrats and two Republicans as a Democrat nominated by President Joe Biden awaits Senate confirmation.

Some Roku smart TV owners are seeing banner ads appear over live content, according to a thread on the r/cordcutters subreddit. Ars Technica reports: [A photo posted by the Reddit user] shows a Sharp TV running Roku software and displaying an ad for a bed over a live sports broadcast, plus a prompt to 'press OK to get offer.' These ads don't seem to appear on Roku's own hardware, like the Roku Ultra, Express, Streambar, or Streaming Stick. Rather, they show up on certain smart TVs running the Roku TV platform -- and it might just be certain brands, like Sharp. Some owners of TCL Roku TVs commented that they had not seen the ads. Fortunately, users in the thread reported that the feature can be disabled in privacy settings. But it's possible that doing so may disable other Roku features.

YouTube will scale back a significant portion of YouTube Originals, which produced original content including scripted series, educational videos, and music and celebrity programming. Chief business officer for YouTube Robert Kyncl announced the changes today in a statement on Twitter. From a report: Going forward, the company will only fund originals in the YouTube Kids Fund and the Black Voices Fund, a program created in 2020 that committed $100 million to "amplify" Black creators on the platform. "With rapid growth comes new opportunities and now our investments can make a greater impact on even more creators when applied towards other initiatives, like our Creator Shorts Fund, Black Voices Fund, and Live Shopping programming to name a few," the statement reads. YouTube Originals has changed approaches throughout the years.

Netflix has raised its monthly subscription price by $1 to $2 per month in the United States depending on the plan, the company said on Friday, to help pay for new programming to compete in the crowded streaming TV market. From a report: The standard plan, which allows for two simultaneous streams, now costs $15.49 per month, up from $13.99, in the United States. Prices also went up in Canada, where the standard plan climbed to C$16.49 from C$14.99. The price increases, the first in those markets since October 2020, took effect immediately for new customers. Existing members will see the new prices in the coming weeks when they receive their monthly bills.

A single page of artwork from a 1984 Spider-Man comic book sold at auction Thursday for a record $3.36 million. From a report: Mike Zeck's artwork for page 25 from Marvel Comics' "Secret Wars No. 8" brings the first appearance of Spidey's black suit. The symbiote suit would eventually lead to the emergence of the character Venom. The record bidding, which started at $330,000 and soared past $3 million, came on the first day of Heritage Auctions' four-day comic event in Dallas. The previous record for an interior page of a U.S. comic book was $657,250 for art from a 1974 issue of "The Incredible Hulk" that featured a tease for the first appearance of Wolverine.

An anonymous reader shares a report: Dawn Ostroff wants to find more hits. The chief content officer of Spotify is upset that her company isn't producing enough new popular podcasts, and has been putting pressure on her in-house studios to deliver. I've now heard the same message from every corner of the Spotify universe, though no one wanted to talk about it on the record. It's hard for new shows to find an audience. Every new show has a smaller audience than its predecessors. This is not specific to Spotify. Executives at studios large and small echoed the sentiment. While the overall audience for podcasting expands, the audience for individual new shows is shrinking across the board. None of the 10 most popular podcasts in the U.S. last year debuted in the last couple years, according to Edison Research. They are an average of more than 7 years old, and three of the top five are more than a decade old. ("The Joe Rogan Experience," "This American Life" and "Stuff You Should Know.") Only a few podcasts in the top 50 ("SmartLess," "The Michelle Obama Podcast," "Frenemies") are less than two years old. And none of them are in the top 25. This trend vexes executives and producers across the podcasting industry, who worry they are wasting a lot of money on new shows. Spotify, Amazon, SiriusXM, iHeartMedia and outside investors have plowed billions of dollars into production companies. Spotify has spent more than anyone, paying about $500 million for three studios. Where is all this money going if these companies aren't producing new hits?