An anonymous reader quotes a report from Music Business Worldwide: According to a document published last week, Daniel Ek's company is seeking a patent for its "Plagiarism Risk Detector And Interface" technology, which pertains to "Methods, systems and computer program products..for testing a lead sheet for plagiarism." As explained in the filing -- and as our songwriter/musician readers will already know -- a "lead sheet" is a type of music score or musical notation for songs denoting their melody, chords and sometimes lyrics or additional notes. Spotify's invention would allow for a lead sheet to be fed through the platform's "plagiarism detector," which would then, "having been trained on a plurality of preexisting encoded lead sheets," immediately compare the composition in question to all other songs stored in its database.

A set of messages would then be displayed -- describing a detected level of plagiarism regarding "a plurality of elements" such as a chord sequence, melodic fragments, harmony, etc. of a song. The AI software would also potentially calculate "a similarity value" of the song in question vs. other songs in the Spotify lead sheet library. These technology could work the other way around, too, says Spotify's filing, reassuring a songwriter that "the melodic fragment [of your song] appears to be completely new." One particularly interesting element of this is that it would take place in near-real time, allowing a songwriter or composer to tweak elements of their work to avoid infringement before they (and/or their record label) spent the big bucks on recording a final version. Spotify's filing adds that "in some embodiments a link to the media content item that might be infringed (e.g., a track of an album) is provided so that a [songwriter] can quickly... listen to the potentially plagiarized work."

Discovery is the latest media company to jump into the ever more crowded streaming wars. It will launch its streaming service Discovery+ on Jan. 4, 2021. The service will include a $4.99 per month ad-supported tier and a $6.99 per month ad-free tier. From a report: The lower $4.99 tier costs the same as NBCUniversal-owned Peacock's premium tier with ads. The ad-free $6.99 tier is on par with what Disney+ costs. Both offerings are much less expensive than WarnerMedia's HBO Max, which costs $14.99 a month, and Netflix, which raised its standard plan to $13.99 a month in Oct. Discovery is also partnering with Verizon, which will give 55 million customers up to 12 months of the ad-free Discovery+ plan for free, depending on their wireless plan with the carrier.

Spotify's $100 million-plus Anchor acquisition is seemingly paying off. From a report: In data released today as part of its annual Wrapped look-back on the year, the company says Anchor, which makes podcast creation software, powered 80 percent of new podcasts on Spotify this year, meaning the software contributed more than 1 million shows to Spotify's catalog in 2020 alone. Overall, Anchor powers 70 percent of Spotify's total podcast catalog, or around 1.3 million out of over 1.9 million shows. People also seem to be listening to that content. Spotify says Anchor shows account for more consumption, in terms of time spent listening, than any other third-party podcast hosting or distribution provider on its platform. (Not counting shows owned or operated by Spotify.) This sounds surprising, at least to me, especially given that big networks like NPR, The New York Times, and Wondery all put their shows on Spotify. But Mike Mignano, head of podcast mission at Spotify, says the data point speaks to the large global podcasting ecosystem that people might not know exists. With more than a million Anchor shows on the platform, listening time adds up fast, even if some shows only have a small group of dedicated fans.

Apple has picked "Code Switch" as the best audio show of the year, marking the first time the company has recognized a single podcast in this way. Engadget reports: Code Switch is NPR's weekly discussion on race. While the series has been on the air for the better part of seven years, it became significantly more popular over the summer as people across the US took to protest the death of George Floyd and other instances of racial injustice.

As in past years, the company also shared a selection of the most popular audio shows people listened to through Apple Podcasts. Few surprises here as old favorites like Stuff You Should Know, This American Life and The Daily came out as the most popular shows in the US. When it comes to shows new to 2020, Unlocking Us, Nice White Parents and CounterClock made the top three for the year. Apple's editorial team had their say as well. They picked California Love, Canary by the Washington Post and Dying for Sex as their favorites of 2020. If you're looking for something new to listen to, all three lists are a good place to start.

Joe2020 shares a report with the caption, "Yeah, this happened." NPR reports: Less than two weeks after authorities stumbled across a mysterious metal object standing freely in the Utah desert -- and just days after it disappeared -- a similar monolith has been reported nearly halfway around the world. Residents in the Romanian city of Piatra Neamt say they have found another odd item that could have been ripped from the set of 2001: A Space Odyssey.

The local newspaper reports that the monolith, like the one discovered in Utah, is about 10 to 12 feet tall and apparently composed entirely of a dimly reflective metal. It was reportedly found standing on the Batca Doamnei plateau, near an archaeological site overlooking the city. Jurnal FM, a local radio station, recorded video of the purported object, revealing an eye-aching sheen and looped markings along its surface. Andrei Carabelea, mayor of Piatra Neamt, appears to be taking the news in stride. "There is no reason to panic for those who think there is still life in the universe," Carabelea quipped, according to a translation by The Independent. "My guess is that some alien, cheeky and terrible teenagers left home with their parents' UFO and started planting metal monoliths around the world. First in Utah and then at Piatra Neamt," he added. "I am honored that they chose our city." According to The New York Times, an adventure photographer said he spotted four men dismantling the structure. The Bureau of Land Management denied moving the structure.

"Need a vacation from 2020? Why not go on an adventure and learn programming at the same time?" asks developer Eric Wastl on Twitter, announcing this year's edition of the Advent of Code.

From the site: Advent of Code is an Advent calendar of small programming puzzles for a variety of skill sets and skill levels that can be solved in any programming language you like. People use them as a speed contest, interview prep, company training, university coursework, practice problems, or to challenge each other.

You don't need a computer science background to participate - just a little programming knowledge and some problem solving skills will get you pretty far. Nor do you need a fancy computer; every problem has a solution that completes in at most 15 seconds on ten-year-old hardware.

Disney has digitally removed a lone crew member who accidentally appeared in the background of a recent Mandalorian episode. The Verge reports: The crew member, who the internet lovingly dubbed "Jeans Guy," appeared at the 18:54 mark in season 2, episode 4. Back flat against the wall, the crew member was not in the shot for very long, but they made an impact on Star Wars fans everywhere. People even made mock designs for action figures based on the crew member! You can't buy that kind of love. The Verge has reached out to Disney about the digital erasure. Upon revisiting the scene, however, the crew member is nowhere to be found, something I was worried would happen. The beauty of digital editing technology is that shows and movies can be worked on in homes around the world at a time when it's impossible to be in a shared office space. The downside is that accidental gaffes we've come to love are erased, lost forever in the digital wavelengths of time.

European Union lawmakers are considering whether current rules aimed at limiting the practice of geoblocking across the bloc should be extended to cover access to streaming audio-visual content. From a report: Access to services like Netflix tends to be gated to individual EU Member States, meaning Europeans can be barred from accessing libraries of content offered elsewhere in the region. So if you're trying to use your Netflix subscription to access the service after moving to another Member State, or want to access inventory offered by Netflix elsewhere in Europe, the answer is typically a big fat no, as we've reported before. This undermines the core concept of the EU's Single Market (and the Digital Single Market -- aka the frictionless ecommerce end-goal which rules such as those limiting geoblocking aim to deliver). The Commission is alive to ongoing issues around online access to audio-visual content. In a review of the two-year-old Geo-blocking Regulation published today, it says it will kick off discussions with the audiovisual sector on ways to improve consumer access to this type of copyrighted content across the bloc.

Reuters reports: David Prowse, the English actor who played Darth Vader in the original Star Wars films, has died aged 85, his management company said on Sunday...

The champion weightlifter-turned-actor starred as the body, but not the voice, of one of cinema's best-known villains. Director George Lucas opted to dub another voice onto Prowse's portrayal of the towering, masked antagonist Darth Vader in "Star Wars", "The Empire Strikes Back" and "Return of the Jedi".
More from the Los Angeles Times: Born in Bristol, southwest England, in 1935, Prowse represented England in weightlifting at the Commonwealth Games in the 1950s before breaking into movies with roles that emphasized his commanding size, including Frankenstein's monster in a pair of horror films [and also in the 1967 comedy Casino Royale].

Director George Lucas saw Prowse in a small part in "A Clockwork Orange" and asked the 6-foot-6-inch actor to audition for the villainous Vader or the Wookiee Chewbacca in "Star Wars." Prowse later told the BBC he chose Darth Vader because "you always remember the bad guys."

Physically, Prowse was perfect for the part. His lilting English West Country accent was considered less ideal, and his lines were dubbed by actor James Earl Jones. Prowse was also known to a generation of British children as the Green Cross Code Man, a superhero in a series of road safety advertisements.
An anonymous reader writes: In 2011 he authored an autobiography titled Straight from the Force's Mouth (with a foreword by bodybuilder/Incredible Hulk actor Lou Ferrigno), and his differences with Lucasfilm are chronicled in a 2015 documentary about his career titled I Am Your Father. (You can watch its trailer on its page on Amazon Prime, though the full documentary is currently listed as "unavailable.")
Wikipedia lists some of Prose's other roles, including:

• A Minotaur in the Doctor Who serial The Time Monster
• The Black Knight in the Terry Gilliam film Jabberwocky
• A small role as Hotblack Desiato's bodyguard in the 1981 BBC TV adaptation of The Hitchhiker's Guide to the Galaxy.

Residents of an Austrian village will ring in the new year under a new name -- Fugging -- after ridicule of their signposts, especially on social media, became too much to bear. From a report: They finally grew weary of Fucking, its current name, which some experts say dates back to the 11th century. Minutes from a municipal council meeting published on Thursday showed that the village of about 100 people, 350km (215 miles) east of Vienna, will be named Fugging from 1 January 2021. Increasing numbers of English-speaking tourists have made a point of stopping in to snap pictures of themselves by the signpost at the entrance to the village, sometimes striking lascivious poses for social media.

Some have reportedly even stolen the signposts, leading the local authorities to use theft-resistant concrete when putting up replacements. Finally, a majority of the villagers decided they had had enough. "I can confirm that the village is being renamed," said Andrea Holzner, the mayor of Tarsdorf, the municipality to which the village belongs.

Microsoft is in the early phases of rolling out its xCloud streaming service on mobile devices, but TVs are the next logical step. From a report:In an interview with The Verge, Xbox chief Phil Spencer has revealed we'll likely see an Xbox app appear on smart TVs over the next year. "I think you're going to see that in the next 12 months," said Spencer, when asked about turning the Xbox into a TV app. "I don't think anything is going to stop us from doing that." Spencer previously hinted at TV streaming sticks for Microsoft's xCloud service last month, and this latest hint suggests we might see similar hardware or an Xbox app for TVs during 2021. Microsoft is currently working on bringing xCloud to the web to enable it on iOS devices, and this work would naturally allow xCloud to expand to TVs, browsers, and elsewhere. Microsoft was previously working on a lightweight Xbox streaming device back in 2016, but it canceled the hardware. Microsoft has been testing the idea of streaming and TV sticks ever since the company originally demonstrated Halo 4 streaming from the cloud to Windows and Windows Phones all the way back in 2013.

thomst writes: Variety is reporting that uber-champion Ken Jennings will be the first of a series of guest hosts to substitute for the late, great Alex Trebek on trivia-maven game show Jeopardy! Executive Producer Mike Richards revealed that, when production resumes on November 30, Jennings will be the first of a series of guest hosts of the program, as the show begins its search for a permanent replacement for the much-beloved Trebek.

Odds are good that the "beauty pageant"-style guest host format will, in effect, be a series of auditions for the permanent position. Jennings, who is legendary for the number of games he won as a regular contestant, as well as for triumphing over fellow Tournament of Champions contestants, IBM's Deep Blue expert system, and two other "winning-est" players to be crowned Greatest of All Time, has hosted trivia game shows in the past, and has made no secret of his desire to take the Trebek's job full-time.

As the saying goes, "Stay tuned for more on this story!"

New submitter SirKveldulv shares a report from Nikkei Asia: Livestreaming platforms now must limit the amount of money a user can give hosts as a tip. Users must register their real names to buy the virtual gifts, in addition to the ban on teens giving such gifts. The [National Radio and Television Administration, China's media watchdog] also asked the platforms to strengthen training for employees who screen content and encouraged the companies to hire more censors, who also will need to register with regulators.

The media regulator will create a blacklist of hosts who frequently violate the rules, and ban them from hosting livestreaming programs on any platform. "The livestreaming platforms should prioritize social benefits and spread the positive energy," the notification said. The administration also asked the platforms to strengthen training for employees who screen content and encouraged the companies to hire more censors, who also will need to register with regulators. The media regulator will create a blacklist of hosts who frequently violate the rules, and ban them from hosting livestreaming programs on any platform. "The livestreaming platforms should prioritize social benefits and spread the positive energy," the notification said.

"The Queen's Gambit," a Netflix exclusive about an orphan chess prodigy, set the record as the most-watched scripted limited series to date on the streaming platform -- with 62 million member accounts tuning in to the show in the first 28 days, according to the company. Variety reports: There's a caveat, though: The way Netflix reports viewing is based on the number of viewers who have watched at least two minutes of a piece of content, which is very different from how the TV industry measures audience. And the streamer cherry-picks which originals it decides to tout with the proprietary metric. Netflix boasted about the success of "The Queen's Gambit," saying that the show made the Top 10 in 92 countries and ranked No. 1 in 63 countries, including the U.K., Argentina, Israel and South Africa.

"The Queen's Gambit" premiered Oct. 23 on Netflix worldwide. The seven-episode limited series stars Anya Taylor-Joy alongside Marielle Heller, Thomas Brodie-Sangster, Moses Ingram, Harry Melling and Bill Camp. For now, "The Witcher" Season 1 remains Netflix's biggest original series overall in the first 28-day window with 76 million households choosing the title, at least based on the two-minute minimum viewing methodology (which the company introduced in the fourth quarter of 2019). Meanwhile, docu-series "Tiger King" was sampled by 64 million member accounts in the first month of its release, per Netflix.

Long-time Slashdot reader destinyland writes: It seems like it's inadvisable to sit in a movie theatre during a pandemic. Thousands of theatres still tried showing movies this weekend — but the number of open theatres is dropping, perhaps because the number of people actually buying tickets appears to be plummeting.

For example, there were 2,154 movie theatres open in America this weekend, according to The Hollywood Reporter — roughly 40% of about 5,449 theatres (according to figures they cite from the American media measurement/analytics company Comscore). But the previous weekend there were 2,800 locations still open — over 50%. "Heading into the weekend, 646 movie theaters in the U.S. closed down again virtually overnight amid an alarming surge in COVID-19 cases, according to Comscore. There were also 60 cinemas reclosures in Canada, meaning that in the span of several days, the North American box office lost 706 locations compared to a week ago... Factoring in Canada, the total number of theaters open in North American dropped from 3,096 sites over the Nov. 13-15 weekend to 2,390 theaters..."

But those figures don't tell the whole story. In that same week the box office dropped "as much as 50 percent" — bringing in a nationwide total somewhere around $5 million, the lowest figure since they started re-opening in August. In fact, the #1 film in America — the campy body-swapping horror film Freaky — pulled in a total of just $1.2 million. "The average gross per complex, with 60 percent of these having eight or more screens, was around $4,000 or $500 per screen," reports IndieWire. If you estimate a ticket cost around $10, that comes out to a total for the entire weekend of just 50 people at each screening. "That can't even cover operating costs, especially with half of the revenue going to film rental." (And they also report that some movies did even worse. Jackie Chan's new movie averaged $291 per theatre.)

It could be a chicken-and-egg effect. Movie theatres are reluctant to release their best movies to limited audiences — but then audiences have even less reason to go to the theatres. But another possibility is that millions of people who used to go to the movies decided that it just wasn't worth the risk during a surging pandemic.

For 108 years Americans have helped their postal service perform "Operation Santa." But this year's program will be fully digital and nationwide, reports CNN: The program allows children and families to write letters to Santa, which will then be processed and shared online beginning on December 4 at USPSOperationSanta.com. Once the letters are live, anyone in the U.S. can go online and adopt a letter, and help make a child or family's holiday wishes come true. Companies also can help adopt letters as teams.

While anyone and everyone can write a letter, the program was started to help families and kids in need, said Kim Frum, a spokeswoman for the U.S. Postal Service (USPS). "The program has always been about providing holiday gifts for families who may not have the means to provide for anything more than basic everyday needs," Frum told CNN in email. Over the last 108 years, the USPS has received hundreds of thousands of letters as part of the "Operation Santa" program, Frum said. Last year alone, more than 11,000 packages were sent to people who wrote to Santa and had their letters adopted. USPS first launched an online pilot of USPS Operation Santa in 2017 in New York City, Frum said. It expanded to seven cities online in 2018, and 17 cities in 2019. The success of the digitization of the program helped pave the way for this year's expansion.

The decision to go fully digital comes as coronavirus cases continue to surge nationwide, leaving the nation to grapple with the consequences, including the economic impact.

78-year-old filmmaker Werner Herzog shared some interesting thoughts before the release of his new documentary on asteroids, Fireball: Visitors From Darker Worlds now available on Apple TV+.

From Herzog's new interview with the science site inverse: Herzog tells Inverse he's less concerned than ever that a meteorite will destroy the Earth, but that doesn't mean we shouldn't still be worried about our own extinction. "It may be 100 million years to go until then," Herzog says, before adding, "within the next thousand years, we may have done such stupid things that we are not around anymore to contemplate it...."

There's a theory that all life on Earth came from a meteorite. Do you think that's possible...?

[I]f you expand the question, it wouldn't surprise me if we found life somewhere outside of our solar system, or even within our solar system, because we share the same chemistry with the universe. We share the same physics with the universe. And we share the same history with the universe. So with trillions and trillions and trillions of stars out there, it's highly likely that somewhere there are some forms of life. Probably not as good and interesting as in movies. We can be pretty certain there are no creatures out there like in Star Wars...

Have you heard the theory that we're living inside a simulation?

Yes, but I don't buy it. Because when I kick a soccer ball from the penalty spot, I know this is for real. If the goalie saves it, oh shit, this is for real.
He also discusses the 1998 asteroid disaster film Deep Impact and his own appearance on Rick and Morty, as well as part on The Mandalorian — and the experience of watching its premiere with 1,000 hardcore Star Wars fans. ("It was unbelievable. The first credit appears and there's a shout of joy that you cannot describe... It's evident Star Wars is a new mythology for our times, whether you like it or not.")

But though Herzog's films "often feature ambitious protagonists with impossible dreams, people with unique talents in obscure fields, or individuals who are in conflict with nature," according to Wikipedia, Herzog insists to Inverse that Elon Musk's plan to build a city on Mars is a "mistake."
In a blistering criticism, Herzog describes the idea as "an obscenity," and says humans should "not be like the locusts...."

Herzog is not opposed to going to Mars at all. In fact, the German filmmaker would "love to go [to Mars] with a camera with scientists." But the long-term vision of a Mars city is a "mistake." Herzog's main concern is that humanity should "rather look to keep our planet habitable," instead of trying to colonize another one.

In short, Mars is not a livable place. There is no liquid water at the surface, or air to breathe. Solar wind means inhabitants would be "fried like in a microwave," Herzog says.

An anonymous reader quotes a report from Ars Technica: AT&T has announced another round of price hikes for DirecTV satellite and U-verse TV services, with monthly prices set to rise up to $9 starting January 17, 2021. "Due to increased programming costs, we're adjusting the price of our video packages," AT&T said in a notice on its website. "Periodically, TV network owners increase the fees they charge DirecTV for the right to broadcast their movies, shows, and sporting events." Of course, AT&T itself determines some of these programming prices because it owns Time Warner.

A $5 monthly increase is coming to DirecTV's 160-channel "Entertainment" package, which currently has a standard rate of $97 a month. A $7 monthly increase is coming to the 185-channel Choice package, currently at $115 a month. A $9 increase is coming to both the 250-channel Ultimate package (currently $142) and the 330-channel Premier package (currently $197). New customers can get those packages for $64.99 to $134.99 under promotional pricing that expires after 12 months. "If you currently have a DirecTV TV promotion, you'll keep that discount until it expires," AT&T said. "Once your promo period ends, you'll pay the new price for your package."

There are also $1 and $3 increases for DirecTV's Basic and Preferred Choice packages for international customers, $6 increases for certain Spanish-language packages, and $8 increases for "Xtra" packages. Only the Minimum service, Family, and ChineseDirect Plus plans are not getting increases. AT&T is raising U-verse TV prices by $5 to $9 a month depending on the package, while keeping the price of the most basic U-verse package the same. U-verse provides TV over AT&T's wired network. As with DirecTV, customers on U-verse promotional pricing won't see the increase until the promotional period ends. DirecTV is also adding a "Federal Cost Recovery Fee of $0.19 per month," similar to a fee that used to be charged once per year. Despite the name, the fee is not mandated by the government. AT&T said the fee covers "expenses that DirecTV pays to the Federal Communications Commission." Ars Technica notes that AT&T did not include any increases for the Regional Sports Network and Broadcast TV fees. It's also decreasing the price of some premium channels. "That includes $3 decreases for Starz, Cinemax, and Showtime," the report says. "There are also decreases of up to $3 for certain add-on bundles that include sports channels. But even with premium channels, there are some price increases, including a $2.96 boost to an add-on bundle that includes HBO Max, Starz, Showtime, Cinemax, and a sports-channel pack."

The full list of price changes can be found here.

wiredog writes: Disney has developed a radical new theory of copyright. When Disney bought Lucasfilm and Fox, they acquired the copyright licenses that enabled them to sell Alan Dean Foster's books -- but not the liability, the legal obligation to actually pay him for those books. They have apparently also done this to numerous other authors.

The statement from the Science Fiction Writers of America (SFWA) is here, and also a Twitter thread from Cory Doctorow. Foster's complaints go beyond Star Wars. His letter also states that Disney failed to pay royalties entirely for his Alien novelizations. "He noted that he and his agent have tried to negotiate with Disney to resolve it all -- mainly because he and his wife have ongoing medical issues and the royalties would help with bills -- only for Disney to ask Foster to sign an NDA before talks could even commence," reports Gizmodo.

Here's part of his letter sent to the company: "When you purchased Lucasfilm you acquired the rights to some books I wrote. Star Wars, the novelization of the very first film. Splinter of the Mind's Eye, the first sequel novel. You owe me royalties on these books. You stopped paying them. When you purchased 20th Century Fox, you eventually acquired the rights to other books I had written. The novelizations of Alien, Aliens, and Alien 3. You've never paid royalties on any of these, or even issued royalty statements for them. All these books are all still very much in print. They still earn money. For you. When one company buys another, they acquire its liabilities as well as its assets. You're certainly reaping the benefits of the assets. I'd very much like my minuscule (though it's not small to me) share."

SFWA president Mary Robinette Kowal said: "The larger problem has the potential to affect every writer. Disney's argument is that they have purchased the rights but not the obligations of the contract. In other words, they believe they have the right to publish work, but are not obligated to pay the writer no matter what the contract says. If we let this stand, it could set precedent to fundamentally alter the way copyright and contracts operate in the United States. All a publisher would have to do to break a contract would be to sell it to a sibling company." The group is asking Disney to either pay Foster foor back and future royalties or cease publication -- either permanently or until new contracts can be signed. They're also asking any other writers who may have had the same experience with Disney to come forward.

Although COVID-19 is surging in the United States and around the world, Warner Bros. still plans to release "Wonder Woman 1984" on Christmas Day -- but its plans are are no longer limited to a theatrical release. From a report: Director Patty Jenkins and star Gal Gadot both posted tweets last night announcing that in in the United States, the film will be released simultaneously in theaters and on WarnerMedia's streaming service HBO Max. "THE TIME HAS COME," Jenkins wrote. "At some point you have to choose to share any love you have to give over everything else. We love our movie as we love our fans, so we truly hope that our film brings a little bit of joy and reprieve to all of you this holiday season." A press release from HBO Max offers a few more details: The film will debut in theaters internationally on December 16, then launch in U.S. theaters and on HBO Max on December 25. It will be available to the streaming service's U.S. subscribers for one month at no additional cost.

Last month, "It's the Great Pumpkin, Charlie Brown" wasn't aired on TV, marking the first time since 1965 that the Peanuts special wasn't broadcasted. Instead, it was streamed on Apple+. Now, according to The Associated Press, the Charlie Brown Thanksgiving and Christmas specials will return to the air. From the report: On Wednesday, Apple bowed to the backlash, announcing it had teamed up with PBS for ad-free broadcasts of "A Charlie Brown Thanksgiving" (on Nov. 22) and "A Charlie Brown Christmas" (on Dec. 13). Both specials will also be available for free during three-day windows on Apple TV+ (Nov. 25-27 for "Thanksgiving" and Dec. 11-13 for "Christmas.") For subscribers, the specials will be available beginning Nov. 18 and Dec. 4, respectively.

An anonymous reader shares a report: The pandemic is helping Japan's demon slayers, monsters and robots make the leap to the global market. Animated video in the Japanese style -- aka anime -- has long been a niche taste for fans in the U.S. and elsewhere, and some anime films such as those by Hayao Miyazaki have become mainstream hits. Now, with the pandemic putting a premium on escapist video content, the business is getting hotter. Streaming services such as Netflix and Amazon Prime are scouring the globe for fresh content, from documentaries to calming videos, and anime has an advantage over live-action content because it doesn't require actors and crew to expose themselves to virus contagion. With the latest anime hit bringing in hundreds of millions of dollars in Japan, industry players say the next year is likely to bring more deals and more content for the U.S. "I used to have the sense that the anime category was spreading widely around the world, but what we're seeing these days is a big leap beyond that," said Taiki Sakurai, Netflix's chief anime producer. "The global anime fan base is expanding rapidly." Last month, Netflix said it had 16 projects in the works at its Tokyo-based anime production hub, including "Godzilla" and "Transformers" titles, with plans for global distribution that it said were pushed forward by the evidence of higher demand.

Netflix, which hired a creative team dedicated to anime production in Tokyo four years ago, said more than 100 million households around the world watched at least one anime title on the streaming site in the year to September 2020, growing by 50% from a year earlier. Anime titles have appeared in the top-10 list in nearly 100 countries this year, it said. Amazon Prime also features a wealth of anime titles. The financial reports of Tokyo-based Toei Animation, the studio responsible for anime such as the "Dragon Ball" and "Sailor Moon" franchises, give a glimpse into how the industry is changing. Four years ago, revenue received from outside Japan accounted for one-third of Toei Animation's overall revenue. The overseas portion rose to half of the total in the year ended this past March, and overseas revenue more than doubled to the equivalent of $243 million, with "Dragon Ball" programs available on streaming services such as Hulu in the U.S. In the most recent six months, overseas sales rose to nearly three-fifths of the total.

Hulu's live TV bundle is getting more expensive. From a report: The new prices are $10 per month higher than Hulu's current fees and will go into effect Dec. 18, 2020. The higher rates apply to both current and new subscribers. Hulu began notifying subscribers of the price hikes Monday. Under the new pricing, the baseline Hulu + Live TV with ads in the VOD content bundle is rising to $64.99 per month (an 18% increase) and the version with no VOD ads is rising to $70.99 per month (up 16%). Both bundles provide more than 65 live channels, including the four major broadcast networks, and access to Hulu's large on-demand library.

"The Radiophonic Workshop has always broken new sonic ground, from the Doctor Who theme to the Hitchhiker's Guide to the Galaxy. Now they're at it again — this time using the internet as a musical instrument," reports the Guardian.

"The band includes composers from the original BBC Radiophonic Workshop, which created soundtracks for most BBC shows from the 60s to the 90s and influenced generations of musicians from Paul McCartney, Pink Floyd and Mike Oldfield to Aphex Twin, Orbital and Mary Epworth..." A performance of Latency will take place at a special online event on 22 November using a technique inspired by lockdown Zoom calls... The internet has an unpredictable natural lag, or latency, caused by the milliseconds it takes for electrical signals from one computer to reach another, as anyone using Zoom has experienced. The trick that Bob Earland and Paddy Kingsland discovered was that they could extend the internet's delay from a few milliseconds into several seconds. Instead of trying to play at the same time, the Radiophonic Workshop will play one after another — in sequence, rather than in parallel.

"We had the bright idea of using that latency to make a loop of music," Earland said. "The sound gets sent to someone, and they add to it, and it keeps going round. So you're not relying on everyone being on the same clock..." Workshop member Peter Howell, who is also a lecturer in film and TV music, said: "It does feel like live playing, it's just that every person has a little bubble of time in which they're playing live."

The performance comes the day before 23 November, the anniversary of the first transmission of Doctor Who in 1963 which is also Delia Derbyshire Day, in honour of the Radiophonic Workshop's leading light, who created the sound of the show's famous theme tune.

Wednesday Twitch warned its users to delete any videos containing copyrighted music. PC Gamer reports on what happened next: Since October, Twitch has been deleting significant quantities of videos over copyright claims, leaving the affected streamers with no way to respond or issue counter-claims. Twitch eventually explained that the number of DMCA notifications it receives from major record labels has surged, going from "fewer than 50" each year to "thousands" beginning in May. The recommendation offered to streamers was to play games with the music muted, which obviously isn't great advice when it comes to rhythm games, or games that don't have the option to mute music separately from other audio. Meanwhile, some streamers have had videos muted due to sound effects, with claims coming via automated content recognition software Audible Magic. These claims can be contested, but it's still frustrating for those affected by content ID software that can't tell the difference between copyrighted audio and the noise of a grandfather clock chiming in a horror game.

In response, streamers have been protesting by playing games with the sound off completely to highlight the absurdity of the situation, some using the hashtag #DMCAsoundoff. Watching Rocksmith players grunt or silently nod along to songs nobody can hear highlights the problem while still entertaining their viewers, as does hearing them improvise their own the sound effects for games like Resident Evil 2.
Polygon argues it's "alarming that these are the lengths players are going to in order to try and protest Twitch's policy..." But they also applauded the creativity of the protesters It's a surprising look at the transformative nature of streaming. When players are forced to play in dead silence, people still tune in and watch. Even while complying with copyright law to the absolute letter, each stream is different, and each act of protest feels wholly unique.

Twitch recently posted a long statement in response to the controversy, writing: "Your frustration and confusion with recent music-related copyright issues is completely justified. Things can — and should — be better for creators than they have been recently. We should have developed more sophisticated and user-friendly tools long ago. To all the creators who lost their community's best moments, we're sorry. This shouldn't have happened."

Despite the statement, Twitch has yet to provide concrete solutions for the ongoing problem, and the platform has yet to address the issue of in-game audio triggering the DMCA process (besides a suggestion to mute in-game audio.)

In a Wall Street Journal article comparing Apple's HomePod Mini against the competition, a Google spokesperson hinted that the company is working on integrating its Chromecast streaming devices and Nest Audio speakers. The Verge reports: Being able to combine a streaming platform with a smart phone speaker makes a lot of sense for these companies. After all, customers already have all the hardware in their living room -- why not repurpose those speakers to improve the sound of your Netflix movies? Plus, there's the added bonus of inciting customers to stay within a company's ecosystem. You're more likely to buy a HomePod mini if it works with the Apple TV you already have. The ability to link smart speakers to streaming boxes is also something that both Apple and Amazon already offer.

Google's plans are extremely vague for now -- The Wall Street Journal makes no mention of which devices the company is looking to link together, when the feature will arrive, or what sort of use cases it's looking to achieve. But with Google increasingly looking to push users toward its smart home devices, making them all work better together just makes good sense.

chicksdaddy shares a report from The Security Ledger: Millions of Android smart television sets from the Chinese vendor TCL Technology Group Corporation contained gaping software security holes that researchers say could have allowed remote attackers to take control of the devices, steal data or even control cameras and microphones to surveil the set's owners. The security holes appear to have been patched by the manufacturer in early November. However the manner in which the holes were closed is raising further alarm among the researchers about whether the China-based firm is able to access and control deployed television sets without the owner's knowledge or permission, according to a report published on Monday by two security researchers.

The report describes two serious software security holes affecting TCL brand television sets. First, a vulnerability in the software that runs TCL Android Smart TVs allowed an attacker on the adjacent network to browse and download sensitive files over an insecure web server running on port 7989. That flaw, CVE-2020-27403, would allow an unprivileged remote attacker on the adjacent network to download most system files from the TV set up to and including images, personal data and security tokens for connected applications. The flaw could lead to serious critical information disclosure, the researchers warned. Second, the researchers found a vulnerability in the TCL software that allowed a local unprivileged attacker to read from and write to critical vendor resource directories within the TV's Android file system, including the vendor upgrades folder. That flaw was assigned the identifier CVE-2020-28055.

The researchers, John Jackson, an application security engineer for Shutter Stock, and the independent researcher known by the handle "Sick Codes," said the flaws amount to a "back door" on any TCL Android smart television. "Anybody on an adjacent network can browse the TV's file system and download any file they want," said Sick Codes in an interview via the Signal platform. That would include everything from image files to small databases associated with installed applications, location data or security tokens for smart TV apps like Gmail. If the TCL TV set was exposed to the public Internet, anyone on the Internet could connect to it remotely, he said, noting that he had located a handful of such TCL Android smart TVs using the Shodan search engine.

Disney+, the streaming service that launched one year ago today, grew to 73.7 million paid subscribers as of early October. TechCrunch reports: That's according to The Walt Disney Company's fourth-quarter earnings report, which covers the company's finances through October 3. The company previously said Disney+ had 60.5 million subscribers as of August 3. The release also includes subscriber numbers for Disney's other streaming services -- Hulu had 36.6 million (including 4.1 million subscribers to Hulu + Live TV), while ESPN had 10.3 million (more than doubling from 3.5 million a year earlier).

Overall, Disney's direct-to-consumer segment saw revenue grow 41% year-over-year to $4.9 billion, while its operating loss fell from $751 million in Q4 2019 to $580 million this year. Disney attributed the shrinking losses to "improved results at Hulu and ESPN+, partially offset by higher costs at Disney+, driven by the ongoing rollout." It was a tough quarter for Disney overall, with the pandemic forcing the company to keep some parks closed and the rest operating at reduced capacity. Disney's revenue fell to $14.7 billion (compared to $19.1 billion during Q4 2019), with a loss of $0.39 per share.

An anonymous reader shares a column: Google Music is dead, and with it one of the few remaining connections I have to the company that doesn't feel like a gun to my head. The service, now merged haphazardly with YouTube Music, recalled the early days of Google, when they sometimes just made cool internet things. It made it nearly a decade, though -- pretty impressive for a one of their products. I'll just say it up front: I'm a lifelong music pirate. Oh yes, I've reformed in recent years, but I've got a huge library of tracks that I've cultivated for decades and don't plan to abandon any time soon (likewise you can pry Winamp from my cold, dead hands). So when Google announced back in 2011 I could stream it all to myself for free, it sounded too good to be true. And indeed it was a relic of the old Google, which was quite simply all about taking things that are difficult to do yourself (find things online, set up a new email address, collaborate on a spreadsheet) and make them easier. Google Music -- as we'll call it despite it having gone through several branding changes before the final indignity of being merged into another, worse service as a presumably short-lived tab -- was not first to the music-streaming or downloading world by a long shot, but its promise of being able to upload your old music files and access them anywhere as if they were emails or documents was a surprisingly generous one. Generous not just in that it was providing server space for 20,000 songs (!) for free and the infrastructure for serving those songs where you went, but in its acknowledgement of other models of owning media. It didn't judge you for having 20,000 MP3s -- they weren't subjected to some kind of legitimacy check, and they didn't report you to the RIAA for having them, though they certainly could have. No, Google Music's free media locker was the company, or at least a quorum of the product team, announcing that they get it: not everyone does everything the same way, and not everyone is ready to embrace whatever business model tech companies decide makes sense. (Notably it has shifted several times more since then.)

In a lengthy blog post, Twitch told streamers that they must stop playing recorded music on their streams (unless it's officially licensed) and that "if you haven't already, you should review your historical VODs and Clips that may have music in them and delete any archives that might." Variety reports: The Amazon-owned live-streaming platform also claimed that it is "actively speaking with the major record labels about potential approaches to additional licenses that would be appropriate for the Twitch service." However, the company also said that the "current constructs for licenses" that record labels have with other services (which typically take a cut of revenue from creators for payment to record labels) "make less sense for Twitch." "We're open-minded to new structures that could work for Twitch's unique service, but we must be clear that they may take some time to materialize or may never happen at all," the company said in the blog.

Twitch's music-copyright communique comes after several major U.S. music organizations -- including the RIAA, the Recording Academy, the National Music Publishers Association, the Music Managers Forum, the American Association of Independent Music and SAG-AFTRA -- sent a letter last month to Amazon CEO Jeff Bezos (copying Twitch CEO Emmet Shear). The letter, among other things, accused Twitch of "allowing and enabling its streamers to use our respective members' music without authorization, in violation of Twitch's music guidelines." Twitch said it was caught off guard by the music industry's crackdown on unlicensed music on its service. According to the company, starting this May, reps for music companies began sending thousands of Digital Millennium Copyright Act (DMCA) copyright-takedown notices targeted at users' archived content, "mostly for snippets of tracks in years-old clips." Before then, Twitch said, it received fewer than 50 music-related DMCA notifications per year.

Twitch said it analyzed DMCA notifications received from the end of May through mid-October and found that more than 99% of them were for tracks that streamers were playing in the background of their stream. Twitch apologized to creators for the angst the DMCA takedowns have caused, noting that a warning email it sent to many last month about the videos deleted from their accounts "didn't include all the information that you'd typically get in a DMCA notification." "We could have developed more sophisticated, user-friendly tools a while ago. That we didn't is on us," it said. "And we could have provided creators with a longer time period to address their VOD and Clip libraries -- that was a miss as well. We're truly sorry for these mistakes, and we'll do better."

Ticketmaster is planning to check the coronavirus vaccination status of concert-goers prior to shows once a treatment is approved. The New York Post reports: The ticketing giant plans to have customers use their cellphones to verify their inoculation or whether they've tested negative for the virus within a 24- to 72-hour window, according to the exclusive report. The plan, which is still being ironed out, will utilize three separate components, including the California-based company's digital ticketing app, third-party health information firms like CLEAR Health Pass and testing/vaccination distributors like Labcorp or CVS Minute Clinic.

Ticketmaster will reportedly not store or access medical records under the plan. If approved, fans would need to verify that they've either already been vaccinated or have tested negative as recently as 24 hours prior to the show. Concert-goers would then instruct a lab to send over test results to companies like CLEAR Health Pass or IBM's Digital Health Pass, which would verify the fan's status to Ticketmaster. Anyone who tests positive or doesn't get screened won't be granted access to the event venue, Billboard reported. The digital ticketing app will also eliminate the need for paper tickets and can be prohibited from being resold, according to the report. Further reading: Billboard

Dish Network announced that it will permanently shut down all of Sling Media's Slingbox services and end support for the devices in two years, at which point they'll no longer work. Variety reports: On Monday, Dish's Sling Media unit announced that Slingbox servers will be permanently taken offline 24 months from Nov. 9, 2020. "Until then, most Slingbox models will continue to work normally, but the number of supported devices for viewing will steadily decrease as versions of the SlingPlayer apps become outdated and/or lose compatibility," the company said in a message posted Monday.

In an FAQ about the shutdown, Dish said Slingbox is being discontinued because "We've had to make room for new innovative products so that we can continue to serve our customers in the best way possible." Sling will not be releasing any new products; most authorized resellers have been out of stock of the Slingbox devices "for a couple years," according to the company. Sling Media was acquired by EchoStar in 2007 for $380 million, which at the time was Dish's parent company. Years before Netflix became a streaming powerhouse, the Slingbox "place-shifting" devices let customers watch pay-TV channels over the internet. But the products never became a mainstream category in the way streaming-media players like Roku and Amazon's Fire TV have.

Artificial intelligence is being used to create new songs seemingly performed by Frank Sinatra and other dead stars. 'Deepfakes' are cute tricks -- but they could change pop for ever. From a report: "It's Christmas time! It's hot tub time!" sings Frank Sinatra. At least, it sounds like him. With an easy swing, cheery bonhomie, and understated brass and string flourishes, this could just about pass as some long lost Sinatra demo. Even the voice -- that rich tone once described as "all legato and regrets" -- is eerily familiar, even if it does lurch between keys and, at times, sounds as if it was recorded at the bottom of a swimming pool. The song in question not a genuine track, but a convincing fake created by "research and deployment company" OpenAI, whose Jukebox project uses artificial intelligence to generate music, complete with lyrics, in a variety of genres and artist styles. Along with Sinatra, they've done what are known as "deepfakes" of Katy Perry, Elvis, Simon and Garfunkel, 2Pac, Celine Dion and more. Having trained the model using 1.2m songs scraped from the web, complete with the corresponding lyrics and metadata, it can output raw audio several minutes long based on whatever you feed it. Input, say, Queen or Dolly Parton or Mozart, and you'll get an approximation out the other end.

"As a piece of engineering, it's really impressive," says Dr Matthew Yee-King, an electronic musician, researcher and academic at Goldsmiths. (OpenAI declined to be interviewed.) "They break down an audio signal into a set of lexemes of music -- a dictionary if you like -- at three different layers of time, giving you a set of core fragments that is sufficient to reconstruct the music that was fed in. The algorithm can then rearrange these fragments, based on the stimulus you input. So, give it some Ella Fitzgerald for example, and it will find and piece together the relevant bits of the 'dictionary' to create something in her musical space." Admirable as the technical achievement is, there's something horrifying about some of the samples, particularly those of artists who have long since died -- sad ghosts lost in the machine, mumbling banal cliches. "The screams of the damned" reads one comment below that Sinatra sample; "SOUNDS FUCKING DEMONIC" reads another. We're down in the Uncanny Valley. Deepfake music is set to have wide-ranging ramifications for the music industry as more companies apply algorithms to music. Google's Magenta Project -- billed as "exploring machine learning as a tool in the creative process" -- has developed several open source APIs that allow composition using entirely new, machine-generated sounds, or human-AI co-creations. Numerous startups, such as Amper Music, produce custom, AI-generated music for media content, complete with global copyright. Even Spotify is dabbling; its AI research group is led by Francois Pachet, former head of Sony Music's computer science lab.

fahrbot-bot shares a report from CNN: A team of physicists at a university in the Netherlands have 3D-printed a microscopic version of the USS Voyager, an Intrepid-class starship from Star Trek. The miniature Voyager, which measures 15 micrometers (0.015 millimeters) long, is part of a project researchers at Leiden University conducted to understand how shape affects the motion and interactions of microswimmers.

Microswimmers are small particles that can move through liquid on their own by interacting with their environment through chemical reactions. The platinum coating on the microswimmers reacts to a hydrogen peroxide solution they are placed in, and that propels them through the liquid. "By studying synthetic microswimmers, we would like to understand biological microswimmers," Samia Ouhajji, one of the study's authors, told CNN. "This understanding could aid in developing new drug delivery vehicles; for example, microrobots that swim autonomously and deliver drugs at the desired location in the human body." In their project, the physicists also printed shapes like boats, trimers and helices, with each object's shape affecting their swimming behaviors.

Advertisers entering the burgeoning medium of streaming TV say they want better measurement and targeting capabilities than they are finding there. But a shadow looms over any efforts to give them what they want: the privacy backlash that has recently put other digital media on the defensive. From a report: That means obtaining viewers' consent to use information on what they watch will be essential for whatever tools emerge as the best way to measure and reach streaming audiences. Online advertising has long relied on technology like tracking cookies and tactics such as retargeting -- following people from website to website to repeatedly show them the same ad for a shirt or a trip they may have briefly considered online. The industry's pervasive monitoring and targeting regime ultimately fueled the rise of ad blockers among consumers, new privacy regulations in Europe and California, and efforts by Apple and Alphabet's Google to weaken some tools on which advertisers, publishers and ad-technology companies have come to rely. Players in streaming TV don't want to provoke the same outcome. "The industry as a whole cannot take the privacy of consumers for granted and make the same mistakes that were made on the internet decades ago," said David Spencer, assistant manager of audience buying strategy for General Motors Co. The risk is growing as more people stream TV over the internet, however, including on television sets that can tell what they are watching.

The iconic host of America's TV quiz show Jeopardy! has died at age 80, after 35 years of reminding contestants to always state their answers in the form of a question. Who was Alex Trebek? CNN calls him "the genial host with all the answers and a reassuring presence in the TV game-show landscape for five decades."

Notable moments include playing host to IBM's Watson computer and a teasingly blunt appraisal of nerdcore hip hop. CNN reports: "Jeopardy! is saddened to share that Alex Trebek passed away peacefully at home early this morning, surrounded by family and friends," said a statement shared on the show's Twitter account Sunday. "Thank you, Alex." The cause of death was not immediately announced. Trebek revealed in March 2019 he had been diagnosed with stage 4 pancreatic cancer, triggering an outpouring of support and well wishes at the time.

Trebek made history in 2014 by hosting his 6,829th "Jeopardy!" episode — the most by a presenter of any single TV game show... In a 2014 interview with the Hollywood Reporter, Trebek downplayed that honor, saying, "I'm just enjoying what I'm doing, I'm happy to have a job. I like the show, I like the contestants and it pays well."

tlhIngan writes: Many years ago, Kojima Productions produced P.T., a "playable teaser" (rumored meaning to P.T.) for a now-cancelled Silent Hill survival-horror reboot. This was a popular teaser but when Kojima and Konami parted ways, it was swiftly removed from the Sony PlayStation Store. People who downloaded the trailer could still re-download it for a period but that was swiftly removed, leading to PS4s preloaded with the game spiking in price. Since the PS5 offers backwards compatibility, reviewers did test the PS5 playing back P.T. to find it still worked. However, this was short lived, as Sony removed the trailer from working in backwards compatible mode, as well as removing the ability to transfer the game to the PS5. Sony's response to the removal was "it was a publisher decision" to remove it from the backwards compatibility list.

Netflix has chosen France to test its first channel offering. From a report: Named Direct, the linear channel -- which is only available to subscribers -- will air French, international and U.S. feature films and TV series that are available on the streaming service. However, the channel will only be accessible via the service's web browser, unlike its streaming service, which is found on set-top boxes thanks to distribution deals with French telco groups such as Orange, Canal Plus and SFR. The initiative marks Netflix's first foray into real-time, scheduled programming. The service previously tested the option Shuffle Play, which wasn't in real time but featured recommended programming to a sample of international users, explained a source at Netflix. The difference this time around is that the test is being localized in one country, rather than a sample of users.

An anonymous reader quotes a report from TorrentFreak: Every week, Netflix sends out thousands of takedown requests, most of which target pirated copies of its movies and TV-shows. Yesterday, however, we spotted a series of copyright infringement notices with a different and rather uncomfortable theme. The streaming giant asked Twitter to remove dozens of tweets that included footage from the French coming-of-age film Cuties. This film hasn't been without controversy and the same can be said about the takedown requests too.

To provide some context, Netflix acquired the global distribution rights for Cuties and started promoting it this summer. This created quite some backlash as many people felt that the young actors had been sexualized after being filmed in all kinds of suggestive poses. We won't go into the various viewpoints on this topic or the lawsuit Netflix faces in Texas over 'lewd visual material.' Opinions from both sides are readily available all over the web, including social media. Netflix didn't cancel Cuties, however, but this week it actively started to pull Cuties clips from Twitter. Not just a handful, but several dozens. Legally the company is allowed to do this of course, as they own the rights. However, it is at least a bit peculiar that the company appears to have targeted only negative tweets. The good news is that the texts of the tweets remain online. We don't know if that is Twitter's decision or if Netflix had a say in it. The takedown requests, which are posted on Lumen, target the full tweet URLs. The flagged tweets, according to TorrentFreak, all condemn Netflix. "The language is quite harsh at times, including terms such as child exploitation, pedophilia, as well as repeated calls to cancel Netflix," it adds.

The company hasn't said why it's suddenly going after Cuties clips on Twitter. "The easy conclusion would be that Netflix is trying to shove these under the carpet," reports TorrentFreak. "However, there are still thousands of similar comments online, so that wouldn't be very effective."

An anonymous reader quotes a report from TorrentFreak: Documents obtained by TorrentFreak dated September reveal the MPA, acting through legal representatives, attempting to pressure individuals who they believe are important at [anime site Nyaa] and could have the ability to shut the site down. Information suggests that several people in North America, Europe, and Australia have all received similar correspondence. The letters allege massive copyright infringement via the Nyaa site and include a sample of copyrighted works, to which the MPA's members hold the rights, that were allegedly infringed via the platform.

The MPA clearly states that none of its cited members (Disney, Paramount, Universal, Columbia, Warner Bros, and Netflix, in addition to Amazon) have granted their permission for the works to be made available via Nyaa or the BitTorrent network(s) that underpin it. As a result, "significant, irreparable damage" has already been caused to the copyright owners by the site's activities. While emailed threats are still a common anti-piracy strategy, we are informed that at least two of the individuals were personally served with legal documents at their homes. Others were served with similar documents via regular mail. We are currently unable to determine exactly how many people were served in total. At the moment the suggestion is around five but that may not be the full picture. What we do know is that some or all stand accused of being part of the mysterious 'Anime Cartel' supposedly behind Nyaa. "With immediate effect, recipients have been told to take all necessary steps to ensure that Nyaa is completely shut down," the report adds. "The MPA also wants to take control of the site's domain -- Nyaa.si -- a common tactic in other anti-piracy actions. Overall, recipients are warned that they must cease-and-desist any and all of their activities related to the site, including making available the copyrighted works of the MPA's members."

"In addition to receiving settlements, it appears that the MPA also wants information on the Nyaa service and its operations. The MPA also wants the rights to the Nyaa site and any technologies connected to it, wherever the recipient has the ability to transfer those rights. The MPA also demands that those entering into a settlement agreement should never infringe its members' rights again."

Two weeks ago the RIAA asked GitHub to remove the open-source stream-ripper software youtube-dl. This request wasn't well-received by developers, many of whom retaliated by posting copies of the code. Yesterday, things went from bad to worse when a user with the name 'FuckTheRIAA' uploaded three MP3s of the songs the RIAA mentioned in its takedown notice. TorrentFreak reports: A few hours ago we spotted a new GitHub user named 'FuckTheRIAA' who uploaded a copy of youtube-dl as well as a 'FuckTheRIAA' repository that includes three songs. These songs from Taylor Swift, Justin Timberlake, and Icona Pop, were not chosen randomly. The same tracks were mentioned in the RIAA's original takedown request, as the YouTube videos were highlighted in the youtube-dl code.

This is yet another example that shows how the RIAA's takedown request has actually made things worse for the music group, at least for now. After nearly a day the three MP3 files are still available on GitHub. [I]t seems likely that it will send another DMCA takedown request to remove the tracks from GitHub. Whether the RIAA will also file takedown notices to remove all of the new youtube-dl forks has yet to be seen. For now, its takedown efforts have only made things worse, so they may let things cool down for a while first while exploring other options.

On Monday, Spotify announced a new initiative that offers artists the chance to pay their way into automated recommendations. Gizmodo reports: In a carefully worded blog post, Spotify is framing its latest move as a test that will give artists more "input" into the recommendation algorithms that populate personalized playlists with fresh tracks. The company writes that its algorithms take "into account thousands of types of signals: what you're listening to and when, which songs you're adding to your playlists, the listening habits of people who have similar tastes, and much more." Today, Spotify is adding a new signal to the mix: $$$.

Artists uploading new tracks to Spotify will be able to choose "music that's a priority for them" and in exchange for accepting a "promotional recording royalty rate," Spotify's algorithms might just bless them with exposure. The company isn't making promises, it's only offering an opportunity. There's no guarantee of placement in playlists and the reduced royalty rate is only applied to songs that end up being served through the new recommendation system. What is a "promotional recording royalty rate," exactly? [A] spokesperson for the service told the Verge that they aren't making the rate public while it's in testing and Spotify will "calibrate to make sure that the widest group of artists and labels can find success."

An anonymous reader quotes a report from The Register: Trey Parker and Matt Stone, best known for their cartoon South Park, have created a new comedy deepfake series called Sassy Justice. The star of the show, Fred Sassy, is a local news reporter from Cheyenne, Wyoming, with the face of US President Donald Trump. Other notable characters include, erm, "Dialysis King" Mark Zuckerberg. Politicians like former vice president Al Gore and White House family members Ivanka Trump and her husband Jared Kushner also appear. Kushner is portrayed as a man child.

If that sounds completely bonkers, that's because it is. They're all actually deepfakes generated using machine learning algorithms. Their faces have all been superimposed onto the bodies of actors. Not only is it pretty funny, the quality of the technology is shockingly good. The transitions and subtle facial expressions are smooth, apart from Zuckerberg who appears as robotic as ever, making it all the more realistic really. You can watch the first episode here.

In 1962 Sean Connery became the first actor to appear in movies as secret agent James Bond, and according to long-time Slashdot reader schwit1 was "The best of the many Bonds, by far."

An anonymous reader writes: Connery influenced the character deeply. The Huffington Post once wrote that James Bond wasn't Scottish until Sean Connery played the role. Ian Fleming was still writing his series of James Bond novels, and "After seeing Connery in Dr. No and thinking the actor did a superb job, Fleming wrote Connery's heritage into the character. In the book You Only Live Twice, Fleming wrote that James Bond's father was Scottish and was from the town of Glencoe. Coincidentally, Connery would film Highlander in Glencoe decades later."

Sir Sean Connery — he was also knighted in the year 2000 — performed many other iconic roles throught his long career, even playing the father of Harrison Ford's character in Indiana Jones and the Last Crusade. Leaving Bond behind, Connery appeared in many historical dramas, including the World War II movies The Longest Day and A Bridge Too Far, as well as The Man Who Would Be King, The Name of the Rose, and (in 2003) The League of Extraordinary Gentlemen. But throughout his life he was always in demand for high-quality action films, from The Hunt for Red October to The Rock, even co-starring with Catherine Zeta-Jones in the romantic caper film Entrapment at the age of 69.

And in Terry Gilliam's movie Time Bandits, Connery appears as more than one character, hinting that beneath the individual roles lay some timeless embodiment of strength and goodness itself.

Apple said on Friday that it's replacing AirPods Pro headphones that have sound problems. CNBC reports: These problems include a static or crackling sound that increases in loud environments and issues with active noise cancellation. Apple said AirPods Pro made after October 2020 don't have the problems. Owners who experience problems can contact Apple online or make an appointment at an Apple store to get their AirPods Pro replaced for free. Only devices that are confirmed to have the issue will be replaced. The replacement applies only to the buds, not the charging case. Apple's not offering a similar program for other AirPod models.

According to Nikkei, Sony is close to acquiring U.S. anime-streaming service Crunchyroll for more than $957 million. From the report: Sony has its own popular anime, titles like "Demon Slayer" and "Kimetsu no Yaiba," but has been licensing it to streaming services. Sony's Aniplex, the studio behind "Kimetsu no Yaiba," has a variety of content, including movies and music, that is mainly distributed by overseas companies. If the acquisition is realized, global competition for content among companies like Netflix and Hulu will intensify.

Crunchyroll was founded in 2006 and has its headquarters in San Francisco. In 2018, AT&T, the U.S. telecommunications giant, became its parent company. Sony recently obtained the exclusive right to negotiate for Crunchyroll. Crunchyroll has 70 million free members and 3 million paying subscribers in more than 200 countries and regions, including the U.S and Europe. Crunchyroll would also give Sony more than 1,000 titles that it can use to vary its offerings.

An anonymous reader shares a report: The RIAA is ramping up the pressure on a wide range of platforms allegedly involved in music piracy. Two DMCA subpoenas obtained against Cloudflare and Namecheap require the companies to hand over all information they hold on more than 40 torrent sites, streaming portals and YouTube-ripping services. Also included in the mix are several file-hosting platforms.

Sony PlayStation CEO Jim Ryan says virtual reality won't be a meaningful part of interactive entertainment in the near future. The Verge reports: Ryan indicated to The Washington Post that VR still has a long way to go, although he emphasized that Sony isn't giving up on the medium. The statement suggests that an update to Sony's PlayStation VR headset is years away.

"I think we're more than a few minutes from the future of VR," Ryan told the Post. "PlayStation believes in VR. Sony believes in VR, and we definitely believe at some point in the future, VR will represent a meaningful component of interactive entertainment. Will it be this year? No. Will it be next year? No. But will it come at some stage? We believe that." He notes that the upcoming PlayStation 5, which will be released November 12th, supports the old PlayStation VR headset with a special adapter.

T-Mobile is taking an aggressive new swing at the U.S. pay-TV sector, threatening to further roil the market's dynamics: The carrier announced a new suite of TVision internet packages, available nationwide, that start at just $10 per month. From a report: With the new over-the-top TV play, T-Mobile wants to attract cord-cutters -- and also poach existing cable and satellite TV customers who are fed up with traditional pay TV's high prices and restrictive channel packaging. The TVision services are available in-home and also on wireless apps virtually anywhere in the U.S. T-Mobile also is introducing TVision Hub, a $50 Android TV-based adapter (with a remote) that plugs into the back of an HDTV to provide access to the TVision OTT services and 8,000-plus apps including Netflix and YouTube. "People sure love TV -- but they sure don't love their TV provider," T-Mobile CEO Mike Sievert said in livestream announcing the TVision lineup. He said incumbent cable and satellite TV providers are holding customers "hostage," because they bundle in "live news and sports with hundreds of other channels you don't want."

Samsung and Stanford University have developed OLED technology that supports resolutions up to 10,000 pixels per inch -- "well above what you see in virtually any existing display, let alone what you'd find in a modern VR headset like the Oculus Quest 2," reports Engadget. From the report: The newOLED tech uses films to emit white light between reflective layers, one silver and another made of reflective metal with nano-sized corrugations. This "optical metasurface" changes the reflective properties and allows specific colors to resonate through pixels. The design allows for much higher pixel densities than you see in the RGB OLEDs on phones, but doesn't hurt brightness to the degree you see with white OLEDs in some TVs. This would be ideal for VR and AR, creating a virtually 'flawless' image where you can't see the screen door effect or even individual pixels. This might take years to arrive when it would require much more computing power, but OLED tech would no longer be an obstacle.