"Kids can play with Alexa in their very own $300 pretend kitchen and grocery store," CNET reports, "with the Amazon voice assistant dishing out cooking advice, shopping help and plenty of goofy toddler humor." The Alexa 2-in-1 Kitchen and Market, from toymaker KidKraft, is making its debut at this weekend's New York Toy Fair... It uses a mix of RFID sensors and Bluetooth to tell Alexa which pretend food items kids are buying and cooking... Alexa speaks only when a sensor on the play set is activated. Put a toy hot dog into the pot on the stove, and Alexa knows you're cooking hot dogs. Kids hear the splash sound effect, and Alexa alerts when the hot dogs are done cooking and to hurry up and get the buns. "If they get cold, they will be chili dogs," she says...

The accessories that come with the kitchen and market, which include fake food, cookware and a credit card, are fitted with RFID chips, and sensors can tell which items are at the register, stovetop or cutting board. The play set then relays that info to the smart speaker via Bluetooth. So, if a kid places lettuce on the market scanner, it could prompt Alexa to say, "Lettuce! Are we making a salad?" And if a kid says, "Yes," Alexa will say, "Great! I love salad. Maybe get some avocado, too."
Engadget reports that once you install an Echo dot, "it will play games with your children and instruct them on how to make the best fake hot dog ever." And there's inevitably a game where Alexa tells your kids what to do: There's plenty of freeform play to be had, but to take advantage of Alexa's real capabilities a kid has to make use of the included "recipe cards." They're not real recipes with ingredients and instructions. Instead it's just a picture of the food the child wants to make, and they insert the card into a special reader on the counter to start the process of preparing it with Alexa's help. Alexa will instruct the child on whether to grab a pot or a pan, if it needs to be filled with water, and whether any ingredients need to be cut on the tiny chopping board. If the requested food isn't in the pantry, never fear: There's a store on the other side...

Unsurprisingly, the KidKraft 2-in-1 Alexa Kitchen and Market will be an Amazon exclusive when it launches some time this year. And the price? A hefty $300.
Tom's Guide calls the playset "clever --and also really creepy."

"On one hand, it's a screen-free, interactive experience... But there are a few concerns that a toy of this budding breed creates. I can't help but question the social implications of making Alexa a child's on-demand playmate."

schwit1 quotes Syfy Wire: There is, admittedly, some ambiguity about precisely how Trek's transporters work. The events of some episodes subtly contradict events in others. The closest thing to an official word we have is the Star Trek: The Next Generation Technical Manual, which states that when a person enters a transporter, they are scanned by molecular imaging scanners that convert a person into a subatomically deconstructed matter stream. That's all a fancy-pants way of saying it takes you apart, atom by atom, and converts your matter into energy. That energy can then be beamed to its destination, where it's reconstructed. According to Trek lore, we're meant to believe this is a continuous process. Despite being deconstructed and rebuilt on the other end, you never stop being "you...."

[Alternately] the fact that you are scanned, deconstructed, and rebuilt almost immediately thereafter only creates the illusion of continuity. In reality, you are killed and then something exactly like you is born, elsewhere. If the person constructed on the other end is identical to you, down to the atomic level, is there any measurable difference from it being actually you? Those are questions we can't begin to answer. What seems clear — whatever the technical manual says — is you die when you enter a transporter, however briefly.
The article also cites estimates that it would take three gigajoules of energy (about one bolt of lightning) to disassemble somebody's atoms, and 10 to the 28th power kilobytes to then hold all that information -- and 2.6 tredecillion bits of data to transmit it.

"The estimated time to transmit, using the standard 30 GHz microwave band used by communications satellites, would take 350,000 times longer than the age of the universe."

Long-time Slashdot reader theodp writes: On Sunday, The Simpsons aired The Miseducation Of Lisa Simpson, an episode in which Marge — with the help of a song from John Legend ("STEM, it's not just for dorks, dweebs and nerds / It'll turn all your dumb kids to Zuckerbergs") — convinces Springfield to use a windfall the town reaped by seizing shipwreck treasure to build the Springfield STEM Academy to "prepare kids for the jobs of tomorrow."

All goes well initially — both Lisa and Bart love their new school — until Lisa realizes there's a two-tiered curriculum. While children classified as "divergent pathway assimilators" (i.e., gifted) like Lisa study neural networks and C+++ upstairs, kids like Bart are relegated to the basement where they're prepared via VR and gamified learning for a life of menial, gig economy side-hustles — charging e-scooters, shopping for rich people's produce, driving ride-share.
The school's administrator was even played by Silicon Valley actor Zach Woods, who delivered one of the episode's harshest lines, notes The A.V. Club.

"Staging a Norma Rae-style revolt at how the 'non-gifted' students are being trained to do everyone else's dirty work, Lisa's brought up short with a startled 'Eep' by Woods' administrator asking, 'Isn't that the point of a gifted class?'"

Long-time Slashdot reader sandbagger shared this report from the Hugo award-winning science fiction fanzine File 770: North Bellmore, New York fan Elyse Rosenstein, 69, died suddenly on February 20th. She had been undergoing rehabilitation after suffering a broken leg. At the time of her death, she was a retired secondary school science teacher. With Joyce Yasner, Joan Winston, Linda Deneroff and Devra Langsam, she organized the very first Star Trek convention, held in New York City in 1972. The convention was not only the very first media convention, it was also the biggest science fiction convention to date by a considerable margin...

At the time, Star Trek fans were often looked down on by many science fiction fans, who were more into books and magazines than TV shows. The pair hoped that a convention specifically geared towards Star Trek would do a lot to bring fans together. The rest, as they say, is fan history....

Elyse Rosenstein had a BS in physics and math, and an MS in physics, and taught science for more than two decades. She was a member of the New York Academy of Sciences and the Long Island Physics Teachers Association...

She was nicknamed "The Screaming Yellow Zonker" by Isaac Asimov.

An anonymous reader shares a report from Wired: In January, all seven of the most-watched YouTube Gaming channels weren't run by happy gamers livestreaming the game du jour. They were instead recorded, autoplaying videos advertising videogame cheats and hacks, sometimes attached to sketchy, credential-vacuuming websites, according to one analytics firm. The trend has continued into this month, with five of the top seven most-watched YouTube Gaming channels last weekend advertising cheats. Take one example: As of this article's writing, a video featuring a cracking teenage boy's voice promoting an unconvincing "money glitch" in Grand Theft Auto 5 boasts 11,000 concurrent viewers. "So basically it's about glitching Rockstar's online servers and makes them send out whatever amount of money," says the voice. The video encourages Grand Theft Auto 5 players to visit a website called "Perfect Glitches," type in their gamer tag and the amount of in-game money they want -- up to $9,999,999,999 a day -- and hit "generate." But, ho -- the user must first prove that they are human by filling in their personal information on two other websites. [...] After you fill in your personal information -- anything from your address to your credit card number -- these types of sites will often turn around and sell it. Other times, sites that promise cheats or in-game money will download malware onto your computer.

While several YouTube Gaming cheat channels have disappeared since January, a couple of long-time users remain and many more keep cropping up. One particularly psychedelic channel features a 3-D cat in a Russian hat advertising free in-game money, against a background of gaudy Russian text and a scrolling chat box. Stitch from Lilo and Stitch dances on the top left corner. With 10,000 live concurrent viewers as of this article's writing, the video buoys the whole category for a somewhat niche shooter game called Standoff 2. It's unlikely that the bulk of those eyebrow-raising view numbers are real humans watching this stuff. Instead, scammers drive bot traffic to them to push the videos to the top of YouTube Gaming directories, where they can get the most exposure for the longest period of time -- a better position from which to dupe unlucky viewers. "The prevalence of these game-cheating YouTube Gaming channels with what appears to be huge numbers of bots complicates the narrative of the so-called 'platform wars' between Twitch, YouTube Gaming, Mixer, and Facebook Gaming," reports Wired in closing. "While Twitch's livestream directory might have a couple pirated sports streams or sketchy gambling streams, its top ranks aren't nearly as dominated by ads for cheats."

"If a chunk of YouTube Gaming's hours watched is due to this sort of behavior, then it may be a little longer until Twitch is knocked off its throne."

Redbox has entered the ad-supported streaming market with the launch of Redbox Free Live TV. "But despite its name, Redbox's new streaming service isn't offering 'live TV' similar to what you'd get on a TV streaming service like YouTube TV or Hulu with Live TV," reports TechCrunch. "Instead, the new service offers a curated set of ad-supported movies and TV shows, similar to The Roku Channel, IMDb TV or TiVo Plus, for example." The news was first reported by Cord Cutters News. From the report: The service, which began rolling out last week, expands on Redbox's earlier efforts in streaming, known as Redbox on Demand. Launched publicly in 2017, Redbox on Demand is the company's online marketplace for movies and TV for rental and purchase. Those titles can then be saved in your Redbox On Demand library and watched on a compatible smart TV, media streaming device, PC, tablet or phone. They also can be cast to a TV by way of AirPlay, Chromecast, Miracast or Screencast. Redbox Free Live TV, meanwhile, is currently available on iPhone, iPad and Android devices, in addition to the web. However, the company says the service is "only available to a select audience" at this time, but will soon be offered nationwide. (Perhaps as soon as this week.)

Like other free, ad-supported streaming services on the market, Redbox Free Live TV doesn't require users to subscribe, but instead runs commercial breaks as a means of generating revenue. On top of that, the content on Redbox Free Live TV is fairly niche -- news and entertainment, but limited to older shows and movies, for the most part, along with content from digital brands.

In a blog post today, Google announced that Stadia will work on some Android phones from Samsung, Asus, and Razer starting on February 20th. Up until this point, Stadia only worked on certain Pixel phones. The Verge reports: Here's the full list of the 19 newly supported phones, which includes the Samsung Galaxy S20 line that's releasing on March 6th: [Samsung Galaxy S8 --> Galaxy S20 Ultra, Razer Phone, Razer Phone 2, Asus ROG Phone, and Asus ROG Phone II.] These new additions -- combined with the current support for the Pixel 2, Pixel 2 XL, Pixel 3, Pixel 3 XL, Pixel 3A, Pixel 3A XL, and Pixel 4 -- mean that you can now play Stadia games on 26 different Android phones. Stadia's iOS app doesn't let you play games, though, so you will have to keep waiting if you want to play Stadia games on your iPhone or iPad.

An anonymous reader quotes The Wrap: "Sonic the Hedgehog" is giving Paramount its best box office news in over a year, with a currently 3-day opening weekend of $55 million to become the best opening weekend ever for a video game adaptation... The delayed release of this film prompted by an intense rejection of Sonic's initial design is turning out to be a bit of a blessing in disguise. Moved from last November to this extended Presidents' Day weekend, "Sonic" is standing out in the movie marketplace as a popular family offering with no major competition currently in theaters and none coming until Pixar's "Onward" arrives in three weeks.

Audience reception, driven by both families and hardcore Sonic fans, has been very strong with an A on CinemaScore, 4/5 on Postrak, and 95% audience score on Rotten Tomatoes. Even critics have been fairly positive with a 65% Rotten Tomatoes score... If this weekend's estimates hold, "Sonic" will have an opening weekend that's more than double any of Paramount's 2019 films, including the $29 million opening of "Terminator: Dark Fate." In fact, it has the highest opening weekend for the studio since "Mission: Impossible — Fallout," which opened to $61.2 million in July 2018.
The Wrap's article also includes a list ranking "all 46 videogame movies" from best to worst. They rank 2001's "Tomb Raider" just ahead of 2018's "Tomb Raider" (at #14 and #15, respectively), and also remember several forgotten early-1990s films based on videogames (including "Street Fighter," "Mortal Kombat" and "Super Mario Bros.")

CNN Business has learned that the once-popular live mobile trivia game "HQ Trivia" is shutting down. From the report: When HQ launched in 2017, its first game HQ Trivia quickly attracted millions of people across the world who stopped whatever they were doing twice a day to play the game on their smartphones. The company was profiled by The New York Times and its original host Scott Rogowsky became a household name, appearing on programs like NBC's "Today" show. But over the next year, the game's popularity faded and its parent company was hit with a series of setbacks. The company grappled with internal turmoil, including the death of HQ cofounder Colin Kroll, who died in December 2018 from a drug overdose.

CEO Rus Yusupov said in a company-wide email on Friday that "lead investors are no longer willing to fund the company, and so effective today, HQ will cease operations and move to dissolution." In the email, which was obtained by CNN Business, Yusupov also disclosed that the company had hired a banker "to help find additional investors and partners to support the expansion of the company." He said the company had "received an offer from an established business" and was expected to close the deal on Saturday, but the potential acquisition fell through.

YouTube says it paid the music industry more than $3 billion last year. "YouTube offers twin engines for revenue with advertising and subscribers, paying out more than $3 billion to the music industry last year from ads and subscriptions," YouTube CEO Susan Wojcicki wrote in a blog post Friday. From a report: The latest figure hints at how much of the Alphabet-owned company's ad revenue goes back to music industry and creators. The data has been largely unknown to investors who have wondered how much money the company is actually pocketing at the end of the day.

Around the world, the most popular tunes this month will be depressing ones [Editor's note: the link may be paywalled.]. From a report: Residents of the northern hemisphere might think that their moods are worst in January. Christmas is over, the nights are long and summer is a distant prospect. Newspapers often claim that "Blue Monday," in the third week of January, is the most depressing day. To create a quantitative measure of seasonal misery, The Economist has analysed music consumption. Our calculations use data from Spotify, which offers 50m tracks to 270m users in over 70 countries, mostly in Europe and the Americas. The firm has an algorithm that classifies a song's "valence," or how happy it sounds, on a scale from 0 to 100. The algorithm is trained on ratings of positivity by musical experts, and gives Aretha Franklin's soaring "Respect" a score of 97; Radiohead's gloomy "Creep" gets just 10.

Since 2017 Spotify has also published daily tables of the 200 most-streamed songs, both worldwide and in each country. We gathered data for 30 countries around the globe, including 46,000 unique tracks with 330bn streams, to identify the annual nadir of musical mood. Drum roll, please. The global top 200 songs are gloomiest in February, when their valence is 4% lower than the annual average. In July, the perkiest month, the mood is 3% higher. The most joyful spike comes at Christmas. Strikingly, this February slump occurs in some countries near the equator, such as Singapore, and far south of it, such as Australia -- even though their musical tastes differ. A few Latin American countries lack such a dip, perhaps because the algorithm sees Latin music as mostly happy. The icy north shows the biggest seasonal swings. Finland's mood in July is 11% happier than usual. Overall, on days when a country gets one more hour of sunlight than its annual average, the valence of its streams increases by 0.6%. In contrast, wet days bring particularly downcast tunes.

On Tuesday, Netflix lost a bid to escape a lawsuit brought by the trademark owner of "Choose Your Own Adventure" over the 2018 immersive film Black Mirror: Bandersnatch. The series' original publisher, Chooseco, sued the company early last year for $25 million in damages, as the company says that Netflix's new movie benefits from association with the Choose Your Own Adventure series, without the company ever receiving the trademark. From Hollywood Reporter: According to the plaintiff, it has been using the mark since the 1980s and has sold more than 265 million copies of its Choose Your Own Adventure books. 20th Century Fox holds options for movie versions, and Chooseco alleges that Netflix actively pursued a license. Instead of getting one, Netflix released Bandersnatch, which allows audiences to select the direction of the plot. Claiming $25 million in damages, Chooseco suggested that Bandersnatch viewers have been confused about association with its famous brand, particularly because of marketing around the movie as well as a scene where the main character -- a video game developer -- tells his father that the work he's developing is based on a Choose Your Own Adventure book.

In reaction to the lawsuit, Netflix raised a First Amendment defense, particularly the balancing test in Rogers v. Grimaldi, whereby unless a work has no artistic relevance, the use of a mark must be misleading for it to be actionable. U.S. District Court Judge William Sessions agrees that Bandersnatch is an artistic work even if Netflix derived profit from exploiting the Charlie Brooker film. And the judge says that use of the trademark has artistic relevance. Thus, the final question is whether Netflix's film is explicitly misleading. Judge Sessions doesn't believe it's appropriate to dismiss the case prematurely without exploring factual issues in discovery. Netflix also attempted to defend its use of "Choose Your Own Adventure" as descriptive fair use. Here, too, the judge believes that factual exploration is appropriate. You can read the full decision here.

An anonymous reader quotes a report from Ars Technica: Valve's gaming marketplace Steam includes an opt-in hardware survey feature, and the results are published as percentages of surveyed users on a monthly basis. You'll find all kinds of data about Steam-connected computers every month, and this includes operating systems, video cards, VR systems, and more. In the latter case, that figure is counted out of all Steam users -- as opposed to a less-helpful stat like "70 percent of VR fans prefer Product A, 30 percent Product B." We were intrigued (but not surprised) to see a jump in connected VR devices for the reported month of December 2019. That's the holiday season, after all, and it's reasonable to expect Santa's deliveries of headsets to affect data.

What surprised us was the continued growth of that metric through the following month -- and a statistically significant one, at that. The latest survey, taken during January 2020, says that 1.31 percent of all surveyed Steam users own a VR system, up from 1.09 percent the month prior. By pure percentage points, this is the largest one-month jump in pure percentage since Valve began tracking VR use in 2016 -- by a long shot. (For perspective, the same survey indicated that 0.9 percent of Steam computers run on Linux, while 3.0 percent use MacOS or OSX.) Based on Valve's conservative January 2019 estimate of 90 million "monthly active users," Ars Technica estimates there are "1.17 million PC-VR users connecting to Steam."

"Drawing an exponential trend line of Steam's MAU between August 2017 and January 2019 would get us closer to a count of 1.6 million active VR hardware owners on Steam, and that doesn't include any estimate of Steam-ignorant Oculus users. However you slice it, the juiciest detail can't be argued: a 20.2% jump within a major PC-VR ecosystem in 30 days."

Streaming eats up a big chunk of viewers' time, though it's still outweighed by traditional linear TV. From a report: That's according to the latest Total Audience Report from Nielsen -- its first Total Audience Report to use smart TV data from Gracenote, and one that's particularly focused on "the flash point of the 'streaming wars'" (as Senior Vice President of Audience Insights Peter Katsingris puts it in his introduction). The firm reports that among U.S. homes that are capable over-the-top streaming, 19% of their TV time was spent on streaming during fourth quarter of 2019. Within that streaming time, Netflix accounted for 31%, compared to 21% for YouTube, 12% for Hulu, 8% for Amazon and 28% for other services. The Gracenote data also allows Nielsen to analyze the full universe of content available to U.S. viewers -- yes, there's a lot of content out there. The firm concludes that through December 2019, viewers had access 646,152 unique program titles, up 10% from 2018. And among those titles, 9% were available exclusively on subscription video on demand services like Netflix.

After capturing the U.S. television market with aggressively priced Roku TVs, China's TCL wants to replicate that success with inexpensive phones, IoT devices and connected appliances -- and in the process, turn its still relatively unknown brand into a household name. In other words: TCL wants to be the next Samsung. From a report: It won't be easy. The phone market, TCL's next target, is firmly dominated by Apple and Samsung and hard to penetrate for newcomers. The company also faces headwinds from the Trump administration's ongoing trade war with China, as well as political resistance to fellow Chinese tech companies like Huawei. And while TCL's partnership with Roku has been key to building its U.S. TV business, it has also forced the company to operate with razor-thin margins as Roku cashes in on a rapidly growing advertising business that's been a newfound source of revenue for other TV manufacturers.

TCL was founded as an audiotape manufacturer in China's Guangdong province in 1981. It has since become a growing force in the consumer electronics industry, manufacturing phones, TVs and appliances that are sold worldwide under a number of brands. In 2019, TCL sold 32 million TVs globally, it recently told investors. Across all of its businesses, TCL's 2018 revenue amounted to $16.3 billion, with a net profit of $586 million. Two-thirds of TCL's TV revenue already comes from overseas, and the company is looking to grow its international business even further. TCL is set to officially enter the U.S. smartphone market under its own brand in the second quarter of this year. After spending the last few years slapping licensed names like BlackBerry on phones it manufactures, the company previewed its first line of TCL-branded handsets at CES in January. It's expected to reveal official launch dates, specs and carrier partnerships at Mobile World Congress in Barcelona later this month.

An anonymous reader shares a report: Around Thanksgiving, it looked like this could have been Netflix's year to win it all at the Oscars. Critics were heaping praise on the epic scale of Martin Scorsese's mob movie "The Irishman," which felt destined to be the streaming giant's best shot at the elusive best picture trophy. The Los Gatos-based tech company put its weight behind the $159-million film, with its big stars and intricate age-altering effects, and pushed it hard through awards season with billboards along Sunset Boulevard. And yet, on Sunday at the Dolby Theatre, Netflix came up short. In total, Netflix's movies had 24 Oscar nominations, the most of any studio. [...]

Still, Netflix ended up winning just two awards, including supporting actress for Laura Dern's turn as a divorce lawyer in "Marriage Story." Netflix also won for documentary feature "American Factory," which was supported by Barack and Michelle Obama's Higher Ground Productions. It wasn't for lack of trying. Hollywood executives estimate that Netflix spent at least $70 million (WSJ pegs $100 million) to promote its eight awards contenders to academy voters. For most studios, an awards season budget of $15 million is considered an ample war chest for a best-picture contender. Netflix was hoping to succeed this year where it ultimately failed in 2019 in its quest to take home the big prize for Alfonso Cuaron's "Roma." Instead, best picture went to "Parasite," Bong Joon Ho's South Korean satirical thriller, which was released by the scrappy upstart New York distributor Neon and cost about $11 to make. "Parasite" also won for director, original screenplay and international film and became the first foreign-language film to win the academy's top honor.

The Warner Brothers/DC film Birds of Prey "is proving not to be the February box office success industry observers had hoped," according to The Wrap: After grossing $13 million on Friday from 4,236 screens, the film is now estimated to earn an opening weekend of $34 million, which would be the lowest start for a DC Comics adaptation since the $5.3 million opening of the box office bomb Jonah Hex in 2010. Heading into the weekend, trackers had been projecting an opening weekend of $55 million while Warner Bros. was more conservative with a $45 million start... Reports on the budget for "Birds of Prey" have varied but have tended to be around $85-95 million.
"Oof. That's not what was wanted or expected," writes Cinema Blend. First of all, the title probably didn't help... Second, Birds of Prey is rated R. Suicide Squad, which gave Margot Robbie's Harley her big showcase, was rated PG-13. As Deadline noted, a lot of young Harley fans -- who loved the animated series and Suicide Squad -- may have been shut out by that rating...

People are also comparing Birds of Prey to Deadpool, which opened to $132,434,639 in February 2016. It may seem like apples to oranges, but they are both R-rated comic book movies opening in February.
Here's a humorous sidenote. At one point in the film, Harley Quinn asks herself what she could've done to offend Ewan McGregor's narcissistic character -- with one possible reason appearing for a split-second on the screen: "Voted for Bernie."

"We just snuck it in there," director Cathy Yan told the Washington Post.

According to CNBC, ViacomCBS is planning the launch of a new streaming service that would expand upon the already successful CBS All Access with films from Paramount Studios and Miramax, plus TV program from networks like MTV and Comedy Central. As Ars Technica points out, both Star Trek films (Viacom) and TV series (CBS) would likely appear on this new service. From the report: The news follows a high-profile merger between Viacom and CBS. CBS had already launched its CBS All Access service before serious movement on the merger began, and Showtime (also owned by ViacomCBS) has offered streaming options for a while now. Previously, Viacom offered some streaming services of its own while also licensing its content to bigger players like Amazon Prime Video. Both CBS All Access and Viacom's existing streaming services would continue to exist alongside this new service in the company's current plans.

ViacomCBS owns such networks as MTV, VH1, CBS, BET, Showtime, Nickelodeon, and Comedy Central, as well as the major film studio Paramount Pictures. It also owns publisher Simon & Schuster and a 50 percent stake in broadcast TV network The CW. (The other half is owned by Warner Bros., now owned by AT&T.) The CNBC report says that the ViacomCBS leadership is still finalizing its plans. However, the current thinking is that there will be both ad-free and ad-supporter tiers (as is the case with CBS All Access today), with Showtime included in at least one plan. Neither a name nor pricing have been decided.

Apollo Masters, one of two plants in the world that manufacture lacquers that are imperative to the process of making vinyl records, sustained a major fire yesterday and burned down. Loudwire reports: The Desert Sun confirmed that the fire began in the 15,000-square-foot building at 8am Feb. 6. There were multiple explosions reported, and 82 firefighters responded to the scene. The company posted a statement on their website addressing the event, as well as the uncertainty of its future: "To all our wonderful customers. It is with great sadness we report the Apollo Masters manufacturing and storage facility had a devastating fire and was completely destroyed. The best news is all of our employees are safe. We are uncertain of our future at this point and are evaluating options as we try to work through this difficult time. Thank you for all of the support over the years and the notes of encouragement and support we have received from you all."

The only other plant, MDC, is located in Japan. While there has not been an immediate impact, an eventual shortage of lacquers can lead to disruptions in the vinyl production process for companies all over.

Netflix has taken down just nine pieces of content around the world in response to written government requests since it was founded 23 years ago, the company revealed for the first time. From a report: In its first-ever report on what it calls Environmental Social Governance, Netflix says it has already received one takedown request this year from the government of Singapore to remove "The Last Hangover," a Brazilian comedy. To date, Netflix has received three written requests from the government of Singapore covering five pieces of content, and one each from New Zealand, Vietnam, Germany, and Saudi Arabia. All have been since 2015. Netflix says it will only take down content if it receives a written request from the government seeking the censorship.

ItsJustAPseudonym writes: "The number of Texas school districts with esports programs has exploded this school year, growing from about 20 to more than 300 in the span of a few months," reports KXAN-TV, citing the Texas Computer Education Association (TCEA). "'It's been in colleges for the last few years, and now it's starting to move down into the high schools and in the middle schools,' said TCEA's executive director, Lori Gracey. 'Teamwork, cooperation, planning, problem-solving, thinking quickly,' Gracey explained, 'all of those are things we want our kids to be able to do. And you can do that through video games.'"

And, for the collegiate perspective on this: "High school is a really, really exciting place for esports to take root," said Austin Espinoza, president of Longhorn Gaming at the University of Texas at Austin. "Eventually, that's just going to trickle upwards into the college world." Yes, yes, it's VERY exciting. I'm sure the effect on grades will be *nothing* but positive, right? On the other hand, esports provides an opportunity for college students to earn some money to pay down their college debts, so that's a potential upside. Will colleges start recruiting and offering scholarships to esports competitors?

Netflix announced today that subscribers will now be able to disable the autoplay functionality that occurs on its homepage. The Verge reports: People can choose to disable autoplay in two different formats: one that automatically starts the next episode in a series and one that autoplays previews while browsing. Netflix rolled out an option to disable autoplay with episodes in a series way back in 2014, but this new setting specifically relates to the autoplay previews on the homepage.

Both features have amassed tons of complaints from subscribers and creators. Star Wars: The Last Jedi and Knives Out director Rian Johnson tweeted his "current favorite console game: navigating Netflix without triggering autoplay promos." There are Reddit threads, YouTube videos, and, of course, tweets from angry customers who have asked Netflix to please, for the love of all that's good in the world, stop with the annoying autoplay features. One person was so frustrated that they created an entire Twitter account just to ask Netflix to please stop. Users can visit an updated help page on Netflix's website to learn how to disable the function.

Netflix announced today that it's beginning to stream video using AV1 on Android. This high-performance, royalty-free codec provides 20% improved compression efficiency over VP9. 9to5Google reports: Developed by the Alliance for Open Media, founding members include Google, Netflix, and Amazon -- all large video providers. Netflix says its "goal is to roll out AV1 on all of our platforms." In starting on mobile, the service cites how "cellular networks can be unreliable" and "limited data plans." That is particularly the case for subscribers abroad, a key growth market. This results in an overall "good fit for AV1's compression efficiency."

At launch, the "Save Data" option -- More tab > App Settings > Cellular Data Usage -- must be set in the Android client. Netflix only specifies "selected titles" as being available to stream over AV1. Moving forward, Netflix's AV1 usage will expand to more use cases as "codec performance improves over time." The service is already working with "device and chipset partners to extend this into hardware."

Dan Houser, co-founder of Rockstar Games, is leaving the company in March after taking an "extended break" in the spring of 2019. "Rockstar Games was founded in 1998, and Dan Houser contributed prominently to the company's successful franchises, including Grand Theft Auto, Max Payne, Red Dead Redemption, and more," notes The Verge. From the report: Take-Two Interactive is the holdings company for Rockstar Games, and it hasn't officially announced the departure yet. Here's the snippet in full, straight from [an SEC document registered by publisher Take-Two Interactive, which first confirmed the news]: "After an extended break beginning in the spring of 2019, Dan Houser, Vice President, Creative at Rockstar Games, will be leaving the company. Dan Houser's last day will be March 11, 2020. We are extremely grateful for his contributions. Rockstar Games has built some of the most critically acclaimed and commercially successful game worlds, a global community of passionate fans and an incredibly talented team, which remains focused on current and future projects."

Google Fiber, the division of Google parent company Alphabet that provides fiber-to-the-premises service in the U.S., today announced that it will no longer offer traditional TV bundles with news, sports, premium, and local broadcast channels. From a report: Current subscribers to Fiber plans that include TV won't see their existing service modified or changed, but new customers won't have the option of signing up for cable content going forward. "As we return our focus to where we started -- as a gigabit Internet company -- we're also ready to challenge the status quo, to finally come right out and say it: customers today just don't need traditional TV," wrote Fiber in a blog post. "The best TV is already online. And we want to help you watch it, in the ways that work best for your budget and your own viewing preferences."

Today Fox will broadcast the Super Bowl in 4K and HDR, reports Gizmodo's senior consumer tech editor. But "the 4K is fake 4K, and, according to Digital Trend's interview with one of the men producing the Bowl, there's a good reason for that..." The reason is that 4K is still really, really data intensive. A 4K video is often twice the size of a 1080p video. It's full of twice as much data which means storage drives need to be twice as big. It also means data pipelines need to be bigger, and processors need to be faster. That's pretty easy to do if you're handling a single 4K stream. But the Super Bowl broadcast will have to handle data coming from a hundred different sources, from cameras on the field, to drones, to big broadcast cameras pointed at the commentators.

"When we're doing a football game that is somewhere north of 100 cameras, there's no possible way we can do this in 4K," Michael Drazin, a broadcast engineering consultant working for Fox, told Digital Trends...

Instead, nearly all the cameras will shoot in 1080p HDR. A few cameras will shoot in 4K and 8K, giving the broadcast's directors the ability to crop and zoom in and without needing a big zoom lens. Then it will all be converted to a 4K HDR stream for 4K broadcasts, and a 720p SDR stream for terrestrial channel broadcasts.
Digital Trends is still calling it "the most grandiose single-day sporting spectacle of the year."

20 years ago, 11 different startups spent millions of dollars to run 30-second ads during the Super Bowl, reports the Hustle. Within one year 8 of the 11 companies "had either gone bankrupt or been sold in fire sales."
The how-to platform Computer.com spent $3m of its $5.8m in seed funding on an ad featuring its 2 founders holding a poster board sign. The site hadn't even launched yet. Not all the ads were quite as homespun. Another startup, Pets.com, spared no expense...to produce its 30-second ad for pet products that featured... a homemade sock puppet...

The 11 startups that bought ads for 2000's Big Game were hoping to replicate the success of 2 tech companies that came before them. HotJobs.com and Monster.com paid for ads in the 1999 Super Bowl, and both reported surges in web traffic during the game... [But in 2000] many advertisers' websites proved poorly equipped to handle the increased traffic... One startup's site slowed from 8 to 53 seconds; another's altogether crashed. "Everything was held together with glue and rubber bands," Hanlon, of LifeMinders, said...

Pets.com, whose $17m in marketing resulted in just $8.8m in revenue, declared bankruptcy less than 10 months after the game. Several months later, Pets.com sold off the branding rights to its celebrity sock puppet for $125k. LifeMinders.com, which had once been valued at $2.3B, had to sell for $68.1m in cash and stock. Computers.com also sold for an undisclosed amount...

[I]n this year's game, there aren't expected to be any startups advertising... According to the professors, modern startups are right not to focus on Super Bowl ads these days: For all but a few, it wouldn't be worth it.... The marketing professors looked back at Super Bowl XXXIV's defunct startups and saw something else: A lot of startups that fell victim to their own egos.
Although when it was all over, the Pets.com sock puppet ended up being interviewed on CNNfn.

CNET shares "the latest, strangest news from the world of Elon Musk...electronic dance music?" It's the second song he's released on Emo G Records' Soundcloud page following 2019's RIP Harambe.

On Thursday, Musk posted a series of tweets suggesting he'd written a song he was calling "Don't doubt yer vibe" and was releasing it on Emo G Records. There was a hint that we should expect some EDM coming our way. Never one to shy away from a meme that will undoubtedly be plastered across the internet, it seems Musk has followed through. "Don't Doubt ur Vibe" was posted to his Twitter account at 10:20 p.m. PT on Jan. 30.

Musk later tweeted he both wrote the lyrics and performed the vocals. Those lyrics are:

"Don't doubt your vibe,
because it's true.
Don't doubt your vibe,
because it's you...."

The album art also ties into Musk's passions -- it depicts a Cybertruck soaring over Mars, the planet he wants to put a million people on by 2050.
According to a retweet on his Twitter feed, Musk has also been telling his life story in the "Third Row Tesla" podcast. Part 1, which aired last week, was two hours and 16 minutes long, and Part 2 -- aired Thursday -- was another 76 minutes.

With some help from his robot (puppet) friends, TV's Joel Hodgson will heckle the movies "Circus of Horrors" and "No Retreat, No Surrender" live in San Francisco today -- before heading out to 26 other American cities (including Austin, Denver, Boise, and Salt Lake City). It's a final farewell tour for Joel, as local media outlets try to find an appropriate appreciation for his legacy:
These days, the act of reacting is everywhere. Twitter is essentially one giant stream of people's snappy takes on current events. An entire cottage industry of YouTube reaction videos thrives. Twitch allows you to watch thousands of people around the world narrating video games. Go back in time, though, and you won't find too much in the way of reacting-as-entertainment. That, is, except for Mystery Science Theater 3000, the quirky, groundbreaking TV show that premiered on a small Minnesota TV station in 1988... It predated even DVD commentary tracks, and presaged the way we consume entertainment today.
That's San Francisco's local PBS station KQED, reminding readers that these really will be Joel's final live shows: Hodgson is calling it his last Mystery Science Theater tour -- he's been on and off the road since the show was crowdfunded to resurrection on Netflix in 2017 -- and, in a short phone conversation from the road, he says he means it. "I'm turning 60 next month," Hodgson says. "My whole job now is to work with the brand and get it ready for the next guy."

That "next guy" is new host Jonah Ray, who stars in the new Netflix episodes. ("He's just a natural, positive force, and he's amazing in that role," Hodgson says.) But fans will always be particularly attached to Hodgson, who has had three decades of understanding the nerdy cult around the show. On tour, he meets many fans face-to-face, "and they're all super-sweet," he says. "You get a few people who are a little socially awkward, but I'm awkward in my own way, so it kind of works out...."

if Hodgson is sad about this being his final tour, he doesn't show it. "I'm pretty happy, and I'm totally thinking about the end of it, for me. You kind of age out of it at a certain point. I'm not going to be one of those guys that's so attached to it that they do it until they take him out in a box."
In 2008 Hodgson answered questions from Slashdot readers.

"I've been a fan so long, I can't even remember when," posted CmdrTaco.

An anonymous reader shares a report: Without giving users a justification, Roku just announced via mass email that after January 31, 2020, all Fox "standalone" channels with no longer be available on the service's streaming boxes or TVs equipped with its software. The email states that "You can still watch FOX channels through these services: FuboTV, Hulu + Live TV, SlingTV, YouTube TV and other live TV services," and goes on to add that "If you have a Roku TV, you may be able to receive FOX over the air with an antenna." The company hasn't issued an official public statement on the change, but according to its support account on Twitter and a statement from a company spokesperson, the move is triggered by the end of its distribution contract with Fox. It appears Roku and Fox are handling their contract negotiations in public view, with users' experience hanging in the balance. It's always possible Fox and Roku could come to an 11th hour agreement.

Online subscriptions sure sound cheap, but what do a few bucks a month to watch TV shows, store photos online and stream music add up to? Quite a lot, it turns out. From a report: In 2019, we each spent $640 on digital subscriptions like streaming video and music services, cloud storage, dating apps and online productivity tools, according to an analysis for The New York Times by Mint, the online budgeting tool owned by Intuit, using data from millions of its users. That was up about 7 percent from $598 in 2017. We increased our spending the most last year on streaming TV services, paying $170 to subscribe to the likes of Netflix, Hulu and new entrants like Disney Plus and Apple TV Plus. While that was far cheaper than most traditional cable TV packages, which cost roughly $1,200 a year, it was up 30 percent from the $130 we spent on streaming TV services in 2017. Our spending on digital subscriptions is likely to only rise as more of our possessions become connected to the internet, like our television sets, home security systems and cars. At the same time, it will become harder and harder to keep track of all of the services we pay for.

A reader shares a report from Ars Technica: CBS has made the entirety of the first episode of its new series Star Trek: Picard freely and publicly available as a YouTube video. This is an opportunity for viewers curious about the show to see if Picard is worth subscribing to the network's streaming service, CBS All Access, to watch the rest of the series. The episode on YouTube is the same as the pilot episode that premiered on CBS All Access last week. The second episode of Picard began streaming on CBS All Access yesterday, and the network plans to release episodes at a weekly cadence.

CBS has not said whether it plans to make other episodes available for free on YouTube in the future, but it seems likely. The description for the video says the episode will only be available "for a limited time" and that it's presented by Geico. It does not, however, clarify how long "a limited time" is or when the video might become unavailable.

An anonymous reader quotes a report from Motherboard: On the night of December 30, Sergeant Vince Iovinella of the Morgan County Sheriff's Department in rural Colorado was on patrol when the calls started coming in about drones. "Residents began calling in reports of drones of unknown origin moving above houses and farms," Iovinella wrote in a statement obtained by Motherboard via a public records request. "The numbers would range from 4 to 10 drones in an area at a time. Some were reported to be low and at least 6 ft. long." Iovinella further reported the drones had white and red flashing lights as he and other deputies made "several attempts" to follow the drones. The drones were moving "very fast at times" but could also "sustain a hover over an area for long periods of time."

"There were many sighting's [sic] coming in and at the same time," Iovinella continued. "It is believed that there could have been up to 30 drones moving around the county if not more and appeared to be working in a search pattern across the county." This was yet another night on eastern Colorado's new drone patrol, following a slate of reports on mysterious fixed-wing drones in the area. They'd come out at night between approximately 7 to 10 p.m. The story, which was first reported by the Denver Post, got international press attention. "In all of these cases," Iovinella wrote in this statement, "it is unknown who owns the drone or what their purpose is." That's because the drones never existed. The Colorado Department of Public Safety (CDPS) "confirmed no incidents involving criminal activity, nor have investigations substantiated reports of suspicious or illegal drone activity."

"Of the 23 reports between January 6 and January 13 when the investigation was underway, 13 were determined to be 'planets, stars, or small hobbyist drones,'" reports Motherboard. "Six were commercial aircraft, and four remain unconfirmed. None of the 90 reports from November 23 onward were confirmed instances of illegal drone activity."

Helios and Matheson Analytics, which owns the defunct MoviePass cinema-subscription service, has filed for Chapter 7 bankruptcy protection. From a report: The company disclosed the move in an SEC filing dated Jan. 28, when Helios and Mathenson filed the petition for Chapter 7 bankruptcy in the U.S. Bankruptcy Court for the Southern District of New York. Chapter 7 of the bankruptcy code dissolves an entity, whose assets are sold off to repay creditors (unlike Chapter 11 bankruptcy, in which a company seeks to renegotiate with creditors). In its bankruptcy filing, Helios and Matheson listed the estimated value of assets at between $1 million-$10 million and $60.9 million in total creditor claims. The bankruptcy filing comes after MoviePass in September 2019 notified remaining subscribers that it would be shutting down indefinitely because "its efforts to recapitalize MoviePass have not been successful to date."

Longtime Slashdot reader SpaceGhost writes: Per Engadget, Ms. Eilish and her older brother (Finneas O'Connell) produced her massively popular album When We All Fall Asleep, Where Do We Go? with minimal studio gear out of a bedroom studio in their parents' house. They used equipment that many aspiring artists could afford (about $1,000 worth of Yamaha monitors for instance, and at first a $100 microphone.) The 18-year-old singer swept all four of the night's biggest prizes -- Best New Artist, Song of the Year, Record of the Year and Album of the Year -- along with honors for Best Pop Vocal Album.

According to a Pro Sound Network interview with O'Connell, their production setup included a pair of $200 Yamaha HS5 nearfield monitors with a $450 H8S subwoofer, a Universal Audio Apollo 8 interface and Apple's Logic Pro X. The duo reportedly used to record with a $99 Audio Technica AT2020 mic. "The stems (that is, individual layers of instruments and music) were then sent to mix engineer Rob Kinelski to compile," adds Engadget.

The US film industry may have generated revenues somewhere in the region of $40 billion last year, but it seems Hollywood still has plenty of work to do if it wants to compete with that most hallowed of American institutions: the public library. From a report: According to a recent Gallup poll (the first such survey since 2001), visiting the local library remains by far the most common cultural activity Americans engage in. As reported earlier today by Justin McCarthy: "Visiting the library remains the most common cultural activity Americans engage in, by far. The average 10.5 trips to the library U.S. adults report taking in 2019 exceeds their participation in eight other common leisure activities. Americans attend live music or theatrical events and visit national or historic parks roughly four times a year on average and visit museums and gambling casinos 2.5 times annually. Trips to amusement or theme parks (1.5) and zoos (.9) are the least common activities among this list."

schwit1 quotes CNN's report on a software engineer who really loves Star Wars costumes:
"I kind of incorporated all of the things that I've learned in 3-D printing and DIY into this project," said Nils Rasmusson. Over the course of nine months, he printed the suit and put it together. "I had to figure out — how do you put all of these pieces together? There's no tutorial or instructions on this," he said.

The helmet alone is made up of 19 different pieces fabricated on the printer. Rasmusson said he used five printers, humming for about 400 to 600 hours, to fabricate the suit out of plastic filament.

It's even bulletproof. His friend works for a company that bulletproofs cars...

An anonymous reader quotes a report from The Hollywood Reporter: Ahead of the Game Developer's Conference (GDC) -- which is dedicated to the art and science of making video games and set to take place March 16-20 at the Moscone Center in San Francisco -- the results of the organization's eighth annual State of Industry report were released Friday. Surveying nearly 4,000 video game developers with the intent of highlighting industry trends and forecasts for the future of gaming, this year's report indicates an increasing interest in the games industry to unionize. This was also a major topic of conversation in 2019, amid reports of gaming professionals working extended overtime hours and tolerating poor working conditions. Among the survey participants, 54 percent said that game industry workers should unionize (a 7 percent increase from last year), 21 percent answered "maybe" and 9 percent said they weren't sure. When the same group was asked whether they thought game industry workers would unionize, only 23 percent said "yes," while 43 percent said "maybe."

If a report from The Wall Street Journal is correct, Apple's TV Plus service that launched late last year has 10 million more subscribers than Disney Plus, which launched at a similar time but with access to almost every TV show and movie Disney owns the rights to. For comparison, Apple TV Plus launched with only 11 titles. Fast Company reports: According to the Wall Street Journal, an Ampere Analysis study found that Apple's fledgling Apple TV Plus service garnered an astounding 33.6 million subscribers in the U.S. in Q4 2019. That puts it as the third-most-popular streaming service in America. Here are the top five streaming video services according to the report: 1.) Netflix -- 61.3 million U.S. subscribers; 2.) Amazon Prime Video -- 42.2 million U.S. subscribers; 3.) Apple TV Plus -- 33.6 million U.S. subscribers; 4.) Hulu -- 31.8 million U.S. subscribers; 5.) Disney Plus -- 23.2 million U.S. subscribers.

To be sure, Apple TV Plus is the video streaming service with the lowest monthly cost at just $4.99, but with only 11 series or movies available at launch in Q4 2019, how on earth did it leapfrog Disney Plus with its catalog of Marvel, Star Wars, and Pixar offerings (not to mention Baby Yoda)? The answer probably lies in the fact that Apple began giving away free subscriptions to its Apple TV Plus service to anyone who bought an iPhone, iPad, Mac, or Apple TV from mid-September onwards. Given that Apple sells tens of millions of those devices a month, it's no wonder Apple TV Plus has accumulated so many subscribers already. However, the real test for Apple will be how many of those subscribers stay on once their year-long free subscription of Apple TV Plus comes to an end.

On Tuesday, Sonos announced that come May 2020, a number of its older products will no longer receive software updates. Naturally, this frustrated many longtime customers, prompting Sonos CEO Patrick Spence to issue a statement to try to clear up the confusion. The Verge reports: "We heard you," is how Spence begins the letter to customers. "We did not get this right from the start." Spence apologizes for any confusion and reiterates that the so-called legacy products will "continue to work as they do today." "Many of you have invested heavily in your Sonos systems, and we intend to honor that investment for as long as possible."

Similarly, Spence pledges that Sonos will deliver bug fixes and security patches to legacy products "for as long as possible" -- without any hard timeline. Most interesting, he says "if we run into something core to the experience that can't be addressed, we'll work to offer an alternative solution and let you know about any changes you'll see in your experience." The letter from Sonos' CEO doesn't retract anything that the company announced earlier this week; Spence is just trying to be as clear as possible about what's happening come May. Spence again confirms that Sonos is planning a way for customers to fork any legacy devices they might own off of their main Sonos system with more modern speakers. (Sonos architected its system so that all devices share the same software. Once one product is no longer eligible for updates, the whole setup stops receiving them. This workaround is designed to avoid that problem.)

Streaming service touts its large collection of titles, but a majority are uploads -- and questionable films are in the mix [Editor's note: the link may be paywalled; an alternative source wasn't immediately available.]. From a report: When Walter Wilson, a construction worker from North Carolina, sat down to watch the blockbuster "Avengers: Endgame" on Amazon Prime Video, he ended up seeing something very different: a 2007 documentary, also titled "Endgame," directed by far-right talk show host Alex Jones. Mr. Jones's videos have been banned from many mainstream sites like Apple's iTunes and Facebook for promoting outlandish conspiracy theories. "Endgame" purported to document a clandestine organization of bankers and politicians bent on establishing a "blueprint for global enslavement." Its availability on Amazon.com's streaming service highlighted a fact not widely known among subscribers: The e-commerce giant accepts nonprofessional and questionable content to offer a video library that in Amazon's style can dominate the competition through sheer volume.

While the video service is known for original movies and shows that have won Oscars and Emmys -- such as "Manchester By the Sea" and "Transparent" -- the site also carries thousands of conspiracy-theory videos, amateur productions and short instructional clips. Similar to Alphabet's YouTube, some videos are uploaded by individuals who made them or by others owning the rights to the content. Others Amazon bought in bulk as part of vast libraries of amateur content. An Amazon spokeswoman says the company has sought a broad selection of content, including videos from award winners and independent producers.

"During its Q4 earnings call, Netflix shot down the idea of an ad-supported option for its service," writes Slashdot reader saccade.com. TechCrunch reports: "Google and Facebook and Amazon are tremendously powerful at online advertising because they're integrating so much data from so many sources. There's a business cost to that, but that makes the advertising more targeted and effective. So I think those three are going to get most of the online advertising business," Netflix CEO Reed Hastings said. To grow a $5 billion to $10 billion advertising business, you'd need to "rip that away" from the existing providers [such as Facebook, Amazon Google], he continued. And stealing online advertising business from [them] is "quite challenging," Hastings added, saying "there's not easy money there."

"We've got a much simpler business model, which is just focused on streaming and customer pleasure," he said. The CEO also noted that Netflix's strategic decision to not enter the ad business has its upsides, in terms of the controversies that surround companies that collect personal data on their users. To compete, Netflix would have to track more data on its subscribers, including things like their location -- that's not something it's interested in doing, he said, calling it "exploiting users." "We don't collect anything. We're really focused on just making our members happy," Hastings stated. "We think with our model that we'll actually get to larger revenue, larger profits, larger market cap because we don't have the exposure to something that we're strategically disadvantaged at -- which is online advertising against those big three," he said. TechCrunch points out that Netflix does track viewership data, overall viewing trends, and users' own interactions with its service. It also recently introduced a new "chose to watch" viewership metric.

"However, none of this viewership tracking is on the scale of big tech's data collection practices, which is what Hastings meant by his comment," the report says.

Mogster shares a report from the BBC: Monty Python stars have led the tributes to their co-star Terry Jones, who has died at the age of 77. The Welsh actor and writer played a variety of characters in the iconic comedy group's Flying Circus TV series, and directed several of their films. He died on Tuesday, four years after contracting a rare form of dementia known as Frontotemporal Dementia (FTD). Here are some of Jones' best lines:

"Now, you listen here! He's not the Messiah. He's a very naughty boy!" -- as Brian's mother in Monty Python's Life of Brian

"I'm alive, I'm alive!" -- as the naked hermit who gives away the location of a hiding Brian in Life of Brian

"I shall use my largest scales" - as Sir Belvedere, who oversees a witch trial in Monty Python and the Holy Grail

"What, the curtains?" -- as Prince Herbert, who is told "One day, lad, all this will be yours" in Holy Grail

"Spam, spam, spam, spam, spam, spam, spam" -- as the greasy spoon waitress in a Monty Python sketch

With Half-Life: Alyx launching in March 2020, Valve is offering gamers the opportunity to play every Half-Life game on Steam for free. "This is basically a two-month-long trial; you won't get to keep these games," notes The Verge. "Every game is compatible with Windows, Linux, and macOS (though all of these games are 32-bit apps, which means they don't work on macOS 10.15 Catalina)." From the report: This promotion includes the original Half-Life (the Source version of the game with added physics to make it feel more modern to play, not the beautiful remaster Black Mesa) and its expansions, Half-Life: Blue Shift and Half-Life: Opposing Force. Also available for free is Half-Life 2 and its two episodic expansions. (According to Valve, Half-Life: Alyx takes place before the events of Half-Life 2.) Valve's Half-Life 2: Lost Coast, its tech demo for HDR lightning, isn't included in this promotion. You can view all the Half-Life games on Steam and start downloading them here.

Claire Murdoch, mental health director of England's National Health Service (NHS), has reignited the loot box controversy with a report claiming they push young people into "under the radar" gambling. PC Gamer reports: "Frankly no company should be setting kids up for addiction by teaching them to gamble on the content of these loot boxes", she said. "No firm should sell to children loot box games with this element of chance, so yes those sales should end." Loot boxes aren't currently regulated by England's Gambling Commission because their contents can't be monetized. The report calls this a "loophole" because, "Despite this, third party websites selling gaming accounts and rare items are commonplace and easy to find on places such as eBay across the internet."

Murdoch called on game publishers to ban games whose loot boxes encourage children to gamble, as well as to introduce spending limits, tell players the odds of receiving each item before they buy a loot box, and "Support parents by increasing their awareness on the risks of in-game spending." As for what those risks are, the report says, "Investigations have found numerous cases of children spending money without their parents' knowledge, including a 16-year-old paying 2,000 British Pounds on a basketball game and a 15-year-old losing 1,000 British Pounds in a shooting game."

A PS5 leak posted on 4Chan, which was later reposted on Reddit, spills a bunch of information on the PlayStation 5 reveal event which is expected to take place in February. According to the leak, the PS5 will be unveiled on February 5 at a PlayStation Meeting event for the media. "The console design, controller, UI/home screen, certain features, console specs, talk from third parties/indie publishers, as well as announcements for PS5 exclusives will be shown," says the leaker.

The leak says the PS5 will support backwards compatibility with games from all 5 PlayStation platforms; PS4 accessories will be compatible on the new console as well; and the specs will rival Microsoft's Xbox Series X console. Furthermore, it states that the PS5 will launch worldwide in October 2020, priced at $499 in the U.S. It'll also be launched with several exclusive titles. You can read the full list of details here.

Might it be possible that someday in the near future, an official might get you to dance around a bit, in order to confirm that you're really you? Perhaps not, but nonetheless, a recent study has determined that people's identities can be matched to their unique style of dancing. From a report: Scientists at Finland's University of Jyvaskyla started out by using motion capture technology to see if test subjects' psychological traits could be ascertained from the way in which they danced -- such traits included their mood, their level of empathy, and how extroverted or neurotic they were. The researchers were also interested in seeing if simply by watching a person dance, it would be possible to determine what sort of music they were dancing to. This only worked about 30 percent of the time. What they unintentionally discovered, however, was that regardless of the type of music, each person has a characteristic style of dancing that can be identified and matched specifically to themselves. Doing so is accomplished utilizing machine learning algorithms, in conjunction with the motion capture tech. In the study, a total of 73 volunteers each danced to eight genres of music â" these included Blues, Country, Dance/Electronica, Jazz, Metal, Pop, Reggae and Rap. The participants received no instructions, other than to "move any way that felt natural."

The iconic animated features of Japan's Studio Ghibli will be available in territories outside the U.S., Canada and Japan on Netflix starting in February. From a report: The move is a further change of position for the studio which has repeatedly resisted the idea that its beloved cartoons would be released on digital platforms. Netflix, sales agent Wild Bunch, and Studio Ghibli, which counts Hayao Miyazaki as one of its leading lights, will upload 21 Ghibli features including Academy Award-winner "Spirited Away," "Princess Mononoke," "Arrietty," "Kiki's Delivery Service," "My Neighbor Totoro," and "The Tale of The Princess Kaguya." They will be screened in their native Japanese, with sub-titles, and be available globally on Netflix except in the U.S., Canada, and Japan.

71-year-old science fiction author William Gibson coined the word "cyberspace" in his 1984 novel Neuromancer. 36 years later he's back with an even more dystopian future in his new novel Agency.

But in a surprisingly candid interview in the Daily Beast, Gibson says he prefers watching emerging new technologies first because "To use it is to be changed by it; you're not the same person."
"I'm not someone who works from assumptions about where technology might be going. My method of writing is exploratory about that."

That's certainly the case with Agency, Gibson's latest, a densely structured, complexly plotted novel that takes place in two separate time frames, which he refers to as "stubs," and has as one of its central characters an AI named Eunice, who is one part uploaded human consciousness and another part specialized military machine intelligence. In one stub it's 2017, a woman is in the White House, and Brexit never happened. But the threat of nuclear war nonetheless hovers over a conflict in the Middle East. In the other stub, it's 22nd century London after "the jackpot," a grim timeline of disasters that has reduced the Earth's population by 80 percent and left Britain to be ruled by "the klept," which Gibson describes as a "hereditary authoritarian government, [with its] roots in organized crime."

Given these scenarios, it's no surprise to discover that the 71-year-old Gibson's latest work was heavily influenced by the 2016 election and the ascendancy of Donald Trump to the presidency. "The book I had been imagining had been a kind of a romp," says the U.S.-born Gibson down the phone line from his long-time home in Vancouver, B.C. "But then the election happened, and I thought, 'Uh-oh, my whole sense of the present is 24 hours out of date, and that's enough to make the book I've been working on kind of meaningless.' It took me a long time [to re-think and re-write the book], and I thought the weirdness factor of reality, finding some balance -- what can I do with the existing level of weirdness, and that level kept going up. I wanted to write a book that current events wouldn't have left by the time it got out, and I think Agency works...."

"It's an interesting time for science fiction now," says Gibson, "because there are people writing contemporary fiction who are effectively writing science fiction, because the world they live in has become science fiction. Writing a contemporary novel today that doesn't involve concepts that wouldn't have been seen in science fiction 20 years ago is impossible. Unless it's an Amish novel."
The Washington Post calls Gibson's new novel "engaging, thought-provoking and delightful," while the senior editor at Medium's tech site One Zero says it's the first time Gibson "has taken direct aim at Silicon Valley, at the industry and culture that has reorganized the world -- with some of his ideas propelling it."

"The result is a blend of speculation and satire that any self-respecting denizen of the digital world should spend some time with."

And they're also publishing an exclusive excerpt from the novel.

Engadget reports on a new tech-industry-in-space comedy premiering tonight on HBO:
If you thought that HBO was done mocking technology companies now that Silicon Valley is done, think again. Avenue 5 is the channel's new sitcom, and one that asks the question: "What if tech bros were in charge of more than just our internet histories?'" The answer, at least according to the first half of the season, is that it won't be pretty -- or safe...

The Avenue 5 is a large space liner that, in the words of cinematographer Eben Bolter, is designed after a vulgar space hotel that goes too far and "gets the details wrong". This Titanic-like vessel and its 5,000 passengers are on a routine jaunt through the solar system when a minor disaster strikes, and its course is altered. But this is space, where a small deviation changes the flight time from eight weeks to several years.

The ship is owned by Herman Judd (Josh Gad) of the Judd Corporation, a self-regarding business magnate who, in Bolter's mind, has "only ever had one good idea." He's not quite an analog for the Bezoses and Musks you may be thinking of, but more a cracked-mirror version of both. Throughout the show, he attempts to impose his thinking on the crisis as if he was still in California, or wherever Silicon Valley moved after the show's alluded-to Huawei Wars. Early on, Judd is presented with the intractable problem of space physics, and he hopes to fix things as he did on Earth. He says, in the Jobsian tradition, that you can make something happen by making someone say that it can. The fight between visionary optimism and reality is harder when you're surrounded by an infinite vacuum, after all.

Avenue 5's point seems to be that you can't simply blue-sky your way out of a crisis when reality keeps getting in the way.