Sir Paul McCartney says he has employed AI to help create what he calls "the final Beatles record." From a report: He told BBC Radio 4's Today programme the technology had been used to "extricate" John Lennon's voice from an old demo so he could complete the song. "We just finished it up and it'll be released this year," he explained.

Sir Paul did not name the song, but it is likely to be a 1978 Lennon composition called Now And Then. It had already been considered as a possible "reunion song" for the Beatles in 1995, as they were compiling their career-spanning Anthology series. Sir Paul had received the demo a year earlier from Lennon's widow, Yoko Ono. It was one of several songs on a cassette labelled "For Paul" that Lennon had made shortly before his death in 1980. Lo-fi and embryonic, the tracks were largely recorded onto a boombox as the musician sat at a piano in his New York apartment.

Piracy release group CAKES has shut down, dealing yet another hit for the piracy ecosystem. TorrentFreak reports: For several decades, The Scene has been the main source of all pirated content made available on the Internet. Technically, release groups operate in a closed ecosystem, but the reality is different. The vast majority of the files published on private Scene servers eventually find their way to public pirate sites. The secretive nature of The Scene has been a major challenge for law enforcement but in the summer of 2020, the US Department of Justice made a major breakthrough. Following a thorough investigation, three members of the illustrious SPARKS group were indicted. The raids and the criminal investigation sent shockwaves around The Scene. Some groups stopped releasing entirely and others significantly slowed down their output, which was felt in many parts of the public piracy ecosystem too.

Amid this turmoil, a new TV release group going by the name of CAKES emerged. The group published its first release "The 100 S07E16" on October 1, 2020, and many more would follow. During the next few years, CAKES built its reputation as a steady release group, one that eventually covered 7,000 titles. That's an impressive average of more than 50 new releases per week. Aside from the massive output, CAKES was also known for including four lines from Drake's track "Pound Cake" in its release notes. These same lines are also at the start of its farewell message.

The message explains that when CAKES started out, the team made an internal promise to pull the plug when "the love" is gone. Without going into further details, that time has apparently arrived. While some people may be disappointed with this decision, CAKES has clearly made up its mind. The group prefers to highlight the achievements and experiences instead, referring to the past few years as a "crazy journey." "If you had told us how the last few years would go, we wouldn't have believed you. The skills learnt, the massive lows, the euphoric highs, it couldn't have happened with a better group of people." "I couldn't be prouder of our team, not just for what was achieved but knowing the right moment to call time. As sad as this is, goodbye from team CAKES," the group adds. GLHF, another piracy group, is mentioned in the farewell message. While no official shut down has been announced, TorrentFreak notes that "GLHF stopped releasing new titles over a week ago, which is highly atypical."

The upcoming Apple TV+ show "Monarch: Legacy of Monsters," based on Legendary's Monsterverse franchise, is reportedly being shot in 3D format to support Apple's Vision Pro headset. If true, it would be the first confirmed TV+ show to support the 3D video-viewing capabilities of the headset, which offers a wide virtual screen environment and spatial audio. MacRumors reports: According to ScreenTimes' Sigmund Judge, the live-action Godzilla and Titans TV series that's based on Legendary's Monsterverse franchise has been shooting in a three-dimensional format supported by Apple's newly announced headset, based on conversations with people familiar with its production. [...] Apple announced its order for the Godzilla TV series in January 2022, but has not yet revealed when it will arrive on TV+.

The series takes place after the battle between Godzilla and the Titans leveled San Francisco, and will be produced by Legendary Television with co-creator Chris Black serving as executive producer and showrunner. Black is known for his work on "Star Trek: Enterprise" and "Outcast."

Long-time Slashdot reader destinyland writes: CBS News interviewed 71-year-old Mark Hamill, who remembers that in his first audition for Star Wars, they didn't give him the whole script. So "I couldn't figure out, is this like a send-up of Flash Gordon or whatever? You couldn't tell. Because nobody talks like this!"

Hamill also does impressions of the other actors he worked with. "I was asking Harrison, because he had been in American Graffiti. I said, 'You know George. Is this like a joke, or — should we send it up, make fun of it?'" And then he mimics Harrison Ford as saying "Yeah, Whatever. Get it done." ("So he was no help.") Later Hamill also describes meeting Alec Guinness, who eventually had to remind Hamill to stop calling him "Sir Alec." ("I want to be known by my name, not my accolade...")

And after playing Mozart in the Broadway production of Amadeus, Hamill remembers the reaction when he'd suggested appearing in the movie adaptation. Director Milos Forman said, "Oh ho ho ho. No, no, no. The Luke Skywalker is not to be being the Mozart." (Hamill's reaction? "At least he's honest.")
There's a clip of Hamill doing voice-over work for the animated Batman series, and (about three minutes in) a quick clip from Mark Hamill's 1976 screen test with Harrison Ford. There's even a photo of Hamill's appearance in a 1971 episode of The Partridge Family. At the end of the interview, Hamill doesn't say whether or not he'll ever reappear in the role of Luke Skywalker again. "You never say never. I just don't see any reason to, let me put it that way. They have so many stories to tell, they don't need Luke any more."

But the interviewer points out that "if you find yourself in Ukraine during an air strike, you might hear Luke Skywalker's voice talking you down" -- since he also provides the voice for a warning app linked to Ukraine's air defense system.

Isaac-Lew (Slashdot reader #623) writes: The Lego scene in "Spider-Man: Across The Spider-Verse" was animated by a 14-year-old high school student after the producers saw the trailer he made that was animated Lego-style.
The teenager had used his father's old computers to recreate the trailer "shot for shot to look as if it belonged in a Lego world," reports the New York Times: By that point, he had been honing his skills for several years making short computer-generated Lego videos. "My dad showed me this 3-D software called Blender and I instantly got hooked on it," he said. "I watched a lot of YouTube videos to teach myself certain stuff..."

[A]fter finding the movie's Toronto-based production designer, Patrick O'Keefe, on LinkedIn, and confirming that Sony Pictures Animation's offer was legitimate, Theodore Mutanga, a medical physicist, built his son a new computer and bought him a state-of-the-art graphics card so he could render his work much faster... Over several weeks, first during spring break and then after finishing his homework on school nights, Mutanga worked on the Lego sequence... Christophre Miller [a director of "The Lego Movie" and one of the writer-producers of "Spider-Verse."] saw Mutanga's contribution to "Across the Spider-Verse" not only as a testament to the democratization of filmmaking, but also to the artist's perseverance: he dedicated intensive time and effort to animation, which is "not ever fast or easy to make," Miller said.

'The Lego Movie' is inspired by people making films with Lego bricks at home," Lord said by video. "That's what made us want to make the movie. Then the idea in 'Spider Verse' is that a hero can come from anywhere. And here comes this heroic young person who's inspired by the movie that was inspired by people like him."

Along with FaceTime support and a redesigned Control Center, Apple is adding support for VPN apps in tvOS 17. MacRumors reports: VPN apps could allow for Apple TV users to watch geo-restricted content from any location, such as the U.S. version of Netflix in another country. In its tvOS 17 press release, however, Apple focused on how the VPN apps can benefit enterprise and education users, so it is possible that Apple could restrict usage of the apps.

Apple: "Third-party VPN support, which enables developers to create VPN apps for Apple TV. This can benefit enterprise and education users wanting to access content on their private networks, allowing Apple TV to be a great office and conference room solution in even more places."

Charlie Brooker, the showrunner of "Black Mirror," revealed in an interview that he used OpenAI's ChatGPT to write an episode for the show's sixth season but deemed the results "shit." Gizmodo reports: "I've toyed around with ChatGPT a bit. The first thing I did was type 'generate Black Mirror episode' and it comes up with something that, at first glance, reads plausibly, but on second glance, is shit," the dystopian sci-fi auteur told Empire. "Because all it's done is look up all the synopses of Black Mirror episodes, and sort of mush them together. Then if you dig a bit more deeply you go, 'Oh, there's not actually any real original thought here.' It's [1970s impressionist] Mike Yarwood -- there's a topical reference."

While his experiments with generating an episode of Black Mirror with AI might have been deemed a failure, Brooker told the outlet that it did point out some of his writing cliches. "I was aware that I had written lots of episodes where someone goes 'Oh, I was inside a computer the whole time!'," he said. "So I thought, 'I'm just going to chuck out any sense of what I think a Black Mirror episode is.' There's no point in having an anthology show if you can't break your own rules. Just a sort of nice, cold glass of water in the face."

According to research company Antenna, Netflix's password crackdown in the U.S. has resulted in the "four single largest days of U.S. user sign-ups since January 2019, when Antenna first began tracking the metric," reports Variety. "On May 23, Netflix began notifying U.S. customers that users on their accounts who live outside their households would need to be added as an 'extra member' (or get their own subscriptions)." From the report: Based on the most current Antenna data available, Netflix average daily sign-ups reached 73,000 from May 25-28, a 102% increase from the prior 60-day average. That was more than the spikes in subscriber sign-ups Antenna recorded during the initial U.S. COVID-19 lockdowns in March and April 2020. Netflix U.S. cancelations also increased over May 25-28 -- a phenomenon the company told investors it expected -- but those were less than the number of sign-ups, according to Antenna. The ratio of sign-ups to cancelations since May 23 increased 25.6% compared with the previous 60-day period.

In the U.S., Netflix has told customers they must buy an "extra member" at an additional $7.99/month for anyone who doesn't live with them that currently uses their account. The streamer has said it will start blocking devices that attempt to access a Netflix account without having legitimate account access. According to New York-based Antenna, its estimates are based on millions of permission-based, consumer opt-in, raw transaction records, which are sourced "from a variety of data collection partners." The data includes online purchase receipts, credit, debit and banking data, and "bill-scrape data."

TV's streaming model is broken. It's also not going away. For Hollywood, figuring that out will be a horror show. From a report: Across the town, there's despair and creative destruction and all sorts of countervailing indicators. Certain shows that were enthusiastically green-lit two years ago probably wouldn't be made now. Yet there are still streamers burning mountains of cash to entertain audiences that already have too much to watch. Netflix has tightened the screws and recovered somewhat, but the inarguable consensus is that there is still a great deal of pain to come as the industry cuts back, consolidates, and fumbles toward a more functional economic framework. The high-stakes Writers Guild of America strike has focused attention on Hollywood's labor unrest, but the really systemic issue is streaming's busted math. There may be no problem more foundational than the way the system monetizes its biggest hits: It doesn't.

Just ask Shawn Ryan. In April, the veteran TV producer's latest show, the spy thriller The Night Agent, became the fifth-most-watched English-language original series in Netflix's history, generating 627 million viewing hours in its first four weeks. As it climbed to the heights of such platform-defining smashes as Stranger Things and Bridgerton, Ryan wondered how The Night Agent's success might be reflected in his compensation. "I had done the calculations. Half a billion hours is the equivalent of over 61 million people watching all ten episodes in 18 days. Those shows that air after the Super Bowl -- it's like having five or ten of them. So I asked my lawyer, 'What does that mean?'" recalls Ryan. As it turns out, not much. "In my case, it means that I got paid what I got paid. I'll get a little bonus when season two gets picked up and a nominal royalty fee for each additional episode that gets made. But if you think I'm going out and buying a private jet, you're way, way off."

Ryan says he'll probably make less money from The Night Agent than he did from The Shield, the cop drama he created in 2002, even though the latter ran on the then-nascent cable channel FX and never delivered Super Bowl numbers. "The promise was that if you made the company billions, you were going to get a lot of millions," he says. "That promise has gone away." Nobody is crying for Ryan, of course, and he wouldn't want them to. ("I'm not complaining!" he says. "I'm not unaware of my position relative to most people financially.") But he has a point. Once, in a more rational time, there was a direct relationship between the number of people who watched a show and the number of jets its creator could buy. More viewers meant higher ad rates, and the biggest hits could be sold to syndication and international markets. The people behind those hits got a cut, which is why the duo who invented Friends probably haven't flown commercial since the 1990s. Streaming shows, in contrast, have fewer ads (or none at all) and are typically confined to their original platforms forever. For the people who make TV, the connection between ratings and reward has been severed.

The House of Representatives in the United States plans to hold a hearing to investigate claims made by a whistleblower former intelligence official, David Grusch, that the US government possesses "intact and partially intact" alien vehicles. The Guardian reports: "There will be oversight of that," Comer told NewsNation. "We plan on having a hearing." Comer said he had heard about Grusch's claims, but added: "I don't know anything about it." The timing of the hearing is not yet determined, but a source familiar with the matter said a date is expected to be announced in the next few weeks. Tim Burchett and Anna Paulina Luna, Republican members of Congress from Florida and Tennessee, respectively, will lead the oversight committee investigation.

Burchett is working closely with House oversight committee leaders to prepare for a hearing, the congressman's office said. The witness list for the hearing has not yet been set, so it is unclear whether Grusch will publicly testify before the oversight committee. "Congressman Burchett's office is working through logistics, including a witness list of the most credible witnesses and sources who would be able to speak openly at an unclassified hearing," a spokesperson said.

Austin Hacker, a spokesman for the committee, told the Guardian in a statement: "In addition to recent claims by a whistleblower, reports continue to surface regarding unidentified aerial phenomena. The House oversight committee is following these UAP reports and is in the early stages of planning a hearing," Hacker said in a statement. "The National Defense Authorization Act for 2022 created the All-Domain Anomaly Resolution Office which coordinates among the Department of Defense, the intelligence community, Nasa, and other federal agencies to study UAPs. Americans, who continue to fund this federal government work, expect transparency and meaningful oversight from Congress."

United Airlines is set to introduce the next-generation Astrove in-flight entertainment system, featuring Panasonic's 4K OLED TVs, with larger screens and thinner bezels than current models. The system also offers Bluetooth 5.0 connectivity, allowing passengers to use their own wireless headphones, and includes two 67W USB-C chargers for charging mobile devices. However, these new entertainment systems will only be available on United's new Airbus A321XLRs and Boeing 787s starting in 2025. Android Headlines reports: The new Astrova System does also have two 67W USB-C chargers available on the bottom-left edge. This means you can use it to charge your phone as well as your laptop or tablet at the same time. So that when you land, you have fully juiced devices. This is all being done to create a "premium home theater environment."

According to a report from the Wall Street Journal, Amazon is preparing to launch an ad-supported tier of Prime Video. The Verge reports: Amazon currently offers Prime Video as part of its $14.99 per month Prime membership or for $8.99 per month as a standalone subscription. Subscribers can tack on other ad-free subscriptions to services like Max, Paramount Plus, and Showtime through Prime Video Channels. As noted by the WSJ, Amazon is currently weighing several ways it could implement ads in Prime Video, such as showing more ads to existing Prime subscribers and then offering an "option to pay more for an ad-free alternative and other features." The ad breaks will reportedly be "short," but there's still no word on whether it will beat Max's promised three to four minutes of ads per hour or how much the tier will cost.

Additionally, the WSJ reports that Amazon is in talks with Warner Bros. Discovery and Paramount to start offering the ad-supported versions of Max and Paramount Plus within its Prime Video Channels. The company could also place a bid for the streaming rights to the National Basketball Association games when they expire in 2025, potentially bolstering its sports streaming lineup, which currently includes Thursday Night Football.

An anonymous reader quotes a report from Ars Technica: On Tuesday, a Reddit user named "nhciao" posted a series of artistic QR codes created using the Stable Diffusion AI image-synthesis model that can still be read as functional QR codes by smartphone camera apps. The functional pieces reflect artistic styles in anime and Asian art. [...] In this case, despite the presence of intricate AI-generated designs and patterns in the images created by nhciao, we've found that smartphone camera apps on both iPhone and Android are still able to read these as functional QR codes. If you have trouble reading them, try backing your camera farther away from the images.

Stable Diffusion is an AI-powered image-synthesis model released last year that can generate images based on text descriptions. It can also transform existing images using a technique called "img2img." The creator did not detail the exact technique used to create the novel codes in English, but based on this blog post and the title of the Reddit post ("ControlNet for QR Code"), they apparently trained several custom Stable Diffusion ControlNet models (plus LoRA fine tunings) that have been conditioned to create different-styled results. Next, they fed existing QR codes into the Stable Diffusion AI image generator and used ControlNet to maintain the QR code's data positioning despite synthesizing an image around it, likely using a written prompt. Other techniques exist to make artistic-looking QR codes by manipulating the positions of dots within the codes to make meaningful patterns that can still be read. In this case, Stable Diffusion is not only controlling dot positions but also blending picture details to match the QR code.

This interesting use of Stable Diffusion is possible because of the innate error correction feature built into QR codes. This error correction capability allows a certain percentage of the QR code's data to be restored if it's damaged or obscured, permitting a level of modification without making the code unreadable. In typical QR codes, this error correction feature serves to recover information if part of the code is damaged or dirty. But in nhciao's case, it has been leveraged to blend creativity with utility. Stable Diffusion added unique artistic touches to the QR codes without compromising their functionality. [...] This discovery opens up new possibilities for both digital art and marketing. Ordinary black-and-white QR codes could be turned into unique pieces of art, enhancing their aesthetic appeal. The positive reaction to nhciao's experiment on social media may spark a new era in which QR codes are not just tools of convenience but also interesting and complex works of art.

A major Austrian opposition political party on Monday corrected the results of a closely contested leadership election after it announced the wrong winner over the weekend due to a "technical" error: Someone had messed up an Excel spreadsheet. From a report: At a convention on Saturday, Austria's Social Democrats (SPO) declared that Hans Peter Doskozil, governor of the eastern Burgenland province, was the new leader of the center-left party. But on Monday, the party said Andreas Babler, a small-town mayor and lesser-known figure, had actually won, with about 52 percent of the votes. "Unfortunately, the paper ballots did not match the result that was announced digitally," Michaela Grubesa, head of the SPÃ- electoral commission, said a news conference. "Due to a colleague's technical error in the Excel list, the result was mixed up."

Those familiar with Microsoft's spreadsheet program, which is used by millions around the world, were quick to crack jokes, bringing wider attention to the error and ensuing chaos. Babler said at a news conference after his belated apparent victory that the commission should count the vote again for accuracy's sake, local media reported, adding that the debacle was "painful for everyone involved" and bad for the party's image.

A former intelligence official turned whistleblower, David Charles Grusch, has provided extensive classified information to Congress and the Intelligence Community Inspector General about covert programs involving the retrieval of intact and partially intact vehicles of non-human origin. Grusch alleges that this information has been illegally withheld from Congress, and he has filed a complaint claiming illegal retaliation for his disclosures. Other intelligence officials, both active and retired, have independently corroborated similar information about these programs. The Debrief reports: The whistleblower, David Charles Grusch, 36, a decorated former combat officer in Afghanistan, is a veteran of the National Geospatial-Intelligence Agency (NGA) and the National Reconnaissance Office (NRO). He served as the reconnaissance office's representative to the Unidentified Aerial Phenomena Task Force from 2019-2021. From late 2021 to July 2022, he was the NGA's co-lead for UAP analysis and its representative to the task force. The task force was established to investigate what were once called "unidentified flying objects," or UFOs, and are now officially called "unidentified anomalous phenomena," or UAP. The task force was led by the Department of the Navy under the Office of the Under Secretary of Defense for Intelligence and Security. It has since been reorganized and expanded into the All-Domain Anomaly Resolution Office to include investigations of objects operating underwater.

Grusch said the recoveries of partial fragments through and up to intact vehicles have been made for decades through the present day by the government, its allies, and defense contractors. Analysis has determined that the objects retrieved are "of exotic origin (non-human intelligence, whether extraterrestrial or unknown origin) based on the vehicle morphologies and material science testing and the possession of unique atomic arrangements and radiological signatures," he said. In filing his complaint, Grusch is represented by a lawyer who served as the original Intelligence Community Inspector General (ICIG). "We are not talking about prosaic origins or identities," Grusch said, referencing information he provided Congress and the current ICIG. "The material includes intact and partially intact vehicles." In accordance with protocols, Grusch provided the Defense Office of Prepublication and Security Review at the Department of Defense with the information he intended to disclose to us. His on-the-record statements were all "cleared for open publication" on April 4 and 6, 2023, in documents provided to us.

sciencehabit shares a report from Science Magazine: The truth may be out there about UFOs, or what the government currently calls "unidentified anomalous phenomena" (UAPs). But finding it will require collecting data that are more rigorous than the anecdotal reports that typically fuel the controversial sightings, according to a panel of scientists, appointed by NASA to advise the agency on the topic, that held its first public meeting [on Wednesday].

The 16-person panel, created last year at the behest of NASA Administrator Bill Nelson, is not itself evaluating UFO claims. Instead, it is advising NASA on how the agency can contribute to federal investigations that have been led by the Department of Defense (DOD) and intelligence agencies, says panel chair David Spergel, an astrophysicist and president of the Simons Foundation, who spoke to Science ahead of the meeting. "NASA is a public agency, an open agency, that encourages the use of the scientific method for looking at results." But science can only be done when there are data to work on, he adds. "You're not going to learn much from fuzzy pictures from the 1950s." So far, most "unidentified" phenomena flagged by the military have ended up being weather balloons, drones, camera glitches, or undisclosed military aircraft, Spergel says. "It's very unlikely there are space aliens that travel through space and use technology that looks remarkably like what we have right now." [...]

It remains to be seen whether NASA will devote any further funding to study UAPs beyond the $100,000 allocated for the panel, which will issue a report this summer. Many scientists would be reluctant to have existing funds steered away from more conventional lines of research in the search for signatures of life or extraterrestrial intelligence. As the panel meeting wound down, Spergel said no UAP so far demands the existence of extraterrestrials. "We have not seen the extraordinary yet." Most incidents end up being more mundane. Panel member Scott Kelly, a former NASA astronaut and naval aviator, recounted flying in an F-14 off the coast of Virginia, when his co-pilot swore that he saw a UAP. "We turned around," he said. "We went to go look at it. It turns out it was Bart Simpson, a balloon."

An anonymous reader quotes a report from TorrentFreak: A Virginia jury held Cox liable for pirating subscribers because it failed to terminate accounts after repeated accusations, ordering the company to pay $1 billion in damages to the labels. This landmark ruling is currently under appeal. As part of the appeal, Cox informed the court of a supplemental authority that could support its position. The case in question is Twitter vs. Taamneh, in which the U.S. Supreme Court recently held that the social media platform isn't liable for ISIS terrorists, who used Twitter to recruit and raise funds. The Supreme Court rejected (PDF) the claim that Twitter aided-and-abetted terrorist activity, because it didn't "consciously and culpably" participate in the illegal activity. According to Cox, the same logic applies in its case, where the ISP was held liable for the piracy activities of subscribers.

"These same aiding-and-abetting principles animate copyright law's contributory liability doctrine, and they likewise foreclose liability here," an attorney for Cox informed the court. Cox argues that the Supreme Court ruling confirms that aiding-and-abetting liability only applies when parties knowingly took part in the activity. That runs contrary to the finding in its own dispute with the record labels, where "culpable expression and conduct" or "intent" were not required. "Though Twitter arises in a different context, its reasoning applies with full force and supports reversal of the contributory infringement verdict," Cox added. The two cases are indeed quite different, but ultimately they are about imposing liability on third-party services.

According to Cox, the Twitter terrorist ruling clearly shows that it isn't liable for pirating subscribers, but the music companies see things differently. Earlier this week, the music labels responded in court (PDF), countering Cox's arguments. They argue that the Twitter ruling doesn't apply to their piracy dispute with Cox, as the cases are grounded in different laws. While the music industry certainly isn't happy with pirates, the Cox case is a copyright matter while the Twitter lawsuit fell under the Justice Against Sponsors of Terrorism Act. And for now, pirates are not categorized as terrorists. After establishing the difference between pirates and terrorists, the music companies point out that Twitter wasn't directly connected to the misconduct. The platform's role was more passive and its connection to ISIS was more distant than Cox's connection to its subscribers. Cox took a more active role and materially contributed to the pirating activities, which stands no comparison to the Twitter case, plaintiffs argue.

India's JioCinema broke the global record for the most concurrent views to a live streamed event on Monday, eclipsing a long-standing milestone set by Disney's Hotstar, as the Asian tycoon Mukesh Ambani spares no expense in expanding his digital empire. From a report: The Indian streaming app, whose partner includes James Murdoch's Bodhi Tree-backed Viacom18, surpassed the record Monday evening, attracting over 32 million concurrent viewers to the final game of the 16th edition of Indian Premier League cricket tourney between Chennai Super Kings and Gujarat Titans.

In an opinion piece for the New York Times, Vox co-founder Ezra Klein worries that early AI systems "will do more to distract and entertain than to focus." (Since they tend to "hallucinate" inaccuracies, and may first be relegated to areas "where reliability isn't a concern" like videogames, song mash-ups, children's shows, and "bespoke" images.)

"The problem is that those are the areas that matter most for economic growth..." One lesson of the digital age is that more is not always better... The magic of a large language model is that it can produce a document of almost any length in almost any style, with a minimum of user effort. Few have thought through the costs that will impose on those who are supposed to respond to all this new text. One of my favorite examples of this comes from The Economist, which imagined NIMBYs — but really, pick your interest group — using GPT-4 to rapidly produce a 1,000-page complaint opposing a new development. Someone, of course, will then have to respond to that complaint. Will that really speed up our ability to build housing?

You might counter that A.I. will solve this problem by quickly summarizing complaints for overwhelmed policymakers, much as the increase in spam is (sometimes, somewhat) countered by more advanced spam filters. Jonathan Frankle, the chief scientist at MosaicML and a computer scientist at Harvard, described this to me as the "boring apocalypse" scenario for A.I., in which "we use ChatGPT to generate long emails and documents, and then the person who received it uses ChatGPT to summarize it back down to a few bullet points, and there is tons of information changing hands, but all of it is just fluff. We're just inflating and compressing content generated by A.I."
But there's another worry: that the increased efficiency "would come at the cost of new ideas and deeper insights." Our societywide obsession with speed and efficiency has given us a flawed model of human cognition that I've come to think of as the Matrix theory of knowledge. Many of us wish we could use the little jack from "The Matrix" to download the knowledge of a book (or, to use the movie's example, a kung fu master) into our heads, and then we'd have it, instantly. But that misses much of what's really happening when we spend nine hours reading a biography. It's the time inside that book spent drawing connections to what we know ... that matters...

The analogy to office work is not perfect — there are many dull tasks worth automating so people can spend their time on more creative pursuits — but the dangers of overautomating cognitive and creative processes are real... To make good on its promise, artificial intelligence needs to deepen human intelligence. And that means human beings need to build A.I., and build the workflows and office environments around it, in ways that don't overwhelm and distract and diminish us.

We failed that test with the internet. Let's not fail it with A.I.

Yes, that expensive Star Wars-themed hotel at Walt Disney World is closing September 30th — after opening barely one year ago. But Sfgate spoke to a couple who's already been three times, and before it closes are "currently planning a fourth and final voyage this summer." If you're counting, that's more than $15,000 their travel parties will have spent on the experience. Their first trip was hosted by Disney as a media preview; for the other visits, the pair split rooms with friends to lower the per-person cost. [The couple is Peter Sciretta and partner Kitra Remick, the couple behind the theme park vlog Ordinary Adventures.] "Any time that we went, we were bunking with people in one room to make the price cheaper because if you can fit four people in one room, it ends up being $1,000 or $1,500 each," Sciretta explained. "It's still expensive even when you split it, but to us and to a lot of people who went back, it was obviously worth it...."

"It's so hard to explain what it's like in there," Sciretta said, "and you saw that from Disney's marketing because they were unable to explain what it was like in there. It's like you are in a 'Star Wars' movie for two and a half days — not just inside, but you are part of a 'Star Wars' movie..." If you want to, you can make the fight between the Resistance and the Dark Side the whole experience — but if you don't, you can spend your time spying on storylines happening in darkened corners and stairwells, trying to sabotage other people's missions (which is actually a thing on the ship), going to lightsaber training, seeing a galactic songstress perform or just eating space food and drinking in the cantina.

The space food, Remick noted, was especially good, even those infamous blue shrimp. "Most of the stuff is otherworldly. It is so good," she said. "That was one of the things I was most excited about when we went back, eating all the food again. Not only does it look cool and Instagram-worthy, it actually tastes really good, too. And all the cocktails are amazing." There's even a cocktail, called the Krayt Reactor, that comes with a song and dance by cast members when you order it — it costs $79 but serves four people... According to information provided to SFGATE by Disney representatives, Galactic Starcruiser has been earning some of the highest guest satisfaction ratings in the history of Walt Disney World. It also won one of the theme park industry's highest honors: a Thea Award for Outstanding Achievement from the Themed Entertainment Association.

"I know hundreds of people that have gone at this point, and not one single person didn't plan on or didn't already go back a second time," Sciretta said. "I kind of do feel like even before it opened, [Disney] shot themselves in the foot with the marketing and the price. They were never able to recover no matter what people said about it."

Forty years ago, a young boy's review of "Return of the Jedi" on NPR's All Things Considered led to uproar from listeners, prompting an on-air apology from host Susan Stamberg for airing spoilers. NPR reports: This was part of the boy's review: "Han Solo and Luke Skywalker are about to go in the pit. And just as he was about to walk the plank, R2D2 fired a laser gun from his head, and Han catched it. And he blew up the whole ship. And the big guy -- the boss of the monsters -- well, he got choked and died." In fact, his review wasn't quite right. It was a lightsaber that R2D2 fired out, which Luke Skywalker caught.

At the time, though, these plot details really rankled NPR listeners. So much so that the next day Stamberg issued an on-air apology. Well, sort of. Here's what she said: "Well, the comic book was a goof, but we certainly goofed last night. We goofed so badly that we changed our program before rebroadcasting it to the West Coast, which means that you West Coast listeners won't know what I'm talking about. But enough of you on the East Coast called to complain that we want to apologize publicly to everybody. Calls -- there were more phone calls on this one than we ever got in the middle of the hottest Middle East disputes. Calls -- there were more phone calls than Richard Gere would get if he listed his number.

And all because last night on All Things Considered, we permitted a six-and-a-half-year-old boy to tell us everything -- and I mean everything -- about Return Of The Jedi. "You gave the plot away," you said. "I've been waiting for that movie for three years, and now you have ruined it for me. How could you do a thing like that?" Well, we are sorry. We're contrite, and we're fascinated. Usually you get angry when we get our facts wrong.

This time we got them right, and you got angry. It's the difference between fact and fiction, of course, and the power of fantasy in our lives -- the need for mystery, for wonderful stories that spill themselves out for us. Of course, if they are wonderful enough -- this may be an excuse, but I doubt it -- if they're wonderful enough, they will come to us new, even though we've seen them a hundred times. That's why people keep going back to see Romeo And Juliet over and over again or The Wizard Of Oz. We know how they end but find great pleasure and nourishment watching them proceed to that ending. Two years from now, that's how we'll feel about the Return Of The Jedi. For now, though, our apologies -- we will not do that again. But listen, I have just seen the new Superman III, and Superman and Lois Lane..."

MoviePass is back thanks to MoviePass co-founder Stacy Spikes, who was fired from the company in 2018 for questioning the sustainability of its business model. "Under the company's new points-based system, you can pay $10 per month to watch one to three movies at any of the 4,000 participating theaters throughout the US," reports The Verge. From the report: In addition to the $10 / month Basic plan, MoviePass offers three more expensive subscription options: a $20 / month Standard plan for three to seven movies per month, a $30 / month Premium plan for five to 11 movies per month, and a $40 / month Pro for up to 30 movies per month. There's a separate, more expensive subscription for customers in Southern California and the New York metro area. The reason why each tier includes a range of movies you can watch has to do with the way MoviePass' new credits system works. Every tier offers a different number of credits that you can redeem on movies each month, with Basic having the least number of credits and the Pro plan having the most.

According to MoviePass, a film's credit value can fluctuate depending on a number of factors, including the time of day and day of the week you want to watch it. Based on tweets from customers who tested the service, credit costs have changed without warning and can vary significantly across showings. If you don't use up all your credits, MoviePass says it will roll them over to the next month, allowing you to have a maximum of two months' worth of unused credits in your account to use at a later date. Once you sign up for the service, you'll receive a MoviePass card within 10 to 15 business days that you'll need to use at supported theaters. The sustainability of MoviePass started to crumble in 2017 when it began offering customers unlimited movie-watching for just $9.95 per month. The seemingly too-good-to-be-true pricing ultimately resulted in the company's bankruptcy two years later.

Additionally, the Securities and Exchange Commission (SEC) filed a lawsuit against MoviePass, alleging that the company had misled investors about the viability of its business model.

Netflix's controversial password sharing crackdown just hit the US. From a report: In addition to the US, Netflix confirmed it will also be rolling out the crackdown across all regions around the world such as the UK, France, Germany, Mexico, Brazil, Singapore, Australia, among others. "Netflix account is for use by one household," the company wrote in the post. "Everyone living in that household can use Netflix wherever they are -- at home, on the go, on holiday -- and take advantage of new features like Transfer Profile and Manage Access and Devices." Netflix broadened its crackdown in early February to include countries like Canada, New Zealand, Portugal, and Spain, in addition to the test countries of Chile, Costa Rica, and Peru. It previously said "a broad rollout" of the policy would hit this quarter.

Bandcamp is music streaming platform helping fans support independent musicians. And Bandcamp United describes itself as "a union of workers at Bandcamp — we are project managers, we are engineers, we are designers, we are vinyl campaign managers, we are support staff, we are editors and writers..."

Friday Bandcamp United issued this statement: Today, a majority of eligible Bandcamp workers voted 31-7 in favor of forming Bandcamp United, a union represented by the Office and Professional Employees International Union (OPEIU). The vote results now await certification by the National Labor Relations Board, with a collective bargaining process to follow.

Below is a joint statement from Bandcamp co-founder Ethan Diamond and Bandcamp United:

â "Bandcamp United and Bandcamp management are committed to working together to continue to advance fair economic conditions for our workers and the artists who rely on us. We look forward to negotiating with an open mind and working in good faith to promote the best interests of all of our staff and the artist and label community we serve."

Thelasko writes: A Star Wars-themed hotel at Walt Disney World is being shut down about a year after opening, the company announced. The hotel, which is marketed as a two-night immersive experience, will take its last bookings Sep. 28 to 30. New bookings are being paused until May 26 to first accommodate those who made reservations after September. [...] The two-night packages start at about $4,800 for two people, and go up to $5,299 for two adults and one child and $5,999 for three adults and one child. Prices include lodging, meals and admission to Hollywood Studios. Upon arriving, guests enter a launch pod to board the Halcyon starcruiser, stay in a room with a space view and are able to interact with the franchise's characters throughout the ship.

Netflix has held talks with UK telecoms groups that carry the streaming group's service ahead of a crackdown on account sharing expected later this month. From a report: The US group, which has said the free use of its platform has hit its ability to invest in new TV and films, plans to start warning customers over account-sharing violations in the coming weeks, according to people familiar with the situation. Telecoms groups that use Netflix as part of bundled TV content have held meetings in the past week over the planned warnings, people familiar with the talks said. Companies such as Sky, BT, Virgin Media and TalkTalk offer Netflix as part of bundled deals on broadband and TV content. But those close to the talks said there was a risk of complaints from some subscribers, many of whom have grown accustomed to sharing their account details with family and friends, activity to which the company had previously turned a blind eye. One person described it as being a "good partner" to groups that offer the service as part of their subscriptions. Telecoms companies' call centres are likely to field questions and complaints once the plans are enacted, according to a person familiar with the issue, which has meant that they have needed close co-operation with Netflix.

An anonymous reader shares a report: This week, we looked at a new hardware startup called Telly that's giving away half a million of its new smart televisions for free. The catch is that the 55-inch smart television is fitted with a second display that sits underneath and displays ads while you watch your favorite shows. The trade-off for a free television is agreeing to let this brand-new startup collect vast amounts of data about you because the money ads make from you cover the costs of the television itself. According to its privacy policy, the startup collects data about what you view, where you're located, what you watch, as well as what could be inferred about you from that information.

But annotations left in its privacy policy that were published in error raise concerns about its data practices. We've pasted below the portion of Telly's privacy policy verbatim, typos included, as it was published at the time -- and have highlighted the questionable passage in bold for emphasis: "As noted in the Terms of Use, we do not knowingly collect or solicitPersonal Data about children under 13 years of age; ifyou are a child under the age of 13, please do not attempt to register for orotherwise use the Services or send us any Personal Data. Use of the Servicesmay capture the physical presence of a child under the age of 13, but noPersonal Data about the child is collected. If we learn we have collectedPersonal Data from a child under 13 years of age, we will delete thatinformation as quickly as possible. (I don't know that this is accurate. Do wehave to say we will delete the information or is there another way aroundthis)? If you believe that a child under 13 years of age may have providedPersonal Data to us, please contact us at..." A short time after contacting Telly for comment, the company removed the section from its privacy policy.

A bipartisan group of lawmakers wants to make it illegal for carmakers to eliminate AM radio from their cars, arguing public safety is at risk. From the report: AM radio is one key way that government officials communicate with the public during natural disasters and other emergencies. Officials worry that if drivers don't have access, they might miss important safety alerts. Some manufacturers are eliminating AM radio from their electric vehicles (EVs) because of interference from the electric motors that creates annoying buzzing noises and faded signals.

They argue that car owners can still access AM radio content through digital streaming packages or smartphone apps (though such services sometimes require a subscription). While AM might seem like a relic of the past, nearly 50 million people still listen to it, according to Nielsen figures provided by the National Association of Broadcasters. The proposed legislation, to be introduced today by Senators Edward J. Markey (D-Mass.), Ted Cruz (R-Tex.) and others, would require all new vehicles to include AM radio at no additional charge. In the case of EV models that have already eliminated AM radio (from BMW, Ford, Mazda, Polestar, Rivian, Tesla, Volkswagen and Volvo), carmakers would be required to disclose the lack of AM access to consumers. The law would also direct the Government Accountability Office to study whether alternative communication systems are as effective in reaching the public during emergencies. Further reading: Saving AM Radio - the Case For and Against.

South Korea's LG Display will start supplying high-end TV panels to Samsung Electronic from as early as this quarter, three sources told Reuters, in a deal that would help the loss-making flat-screen maker turn profitable. From the report:LG Display aims to supply 2 million units next year and boost shipments to 3 million and 5 million units in subsequent years, two sources with direct knowledge of the matter said. Initial supplies to Samsung would likely be 77-inch and 83-inch white OLED (WOLED) TV panels. For Samsung, the deal highlights how it is looking to expand in high-end organic light emitting diode (OLED) TVs as competition heats up in the lower end with Chinese vendors. OLED panels cost nearly five times more than liquid-crystal display (LCD) panels. With this deal, Samsung could overtake Sony as the second largest supplier of OLED TVs globally.

Ilya Pozin made a bunch of money when Viacom bought Pluto TV, the free video-streaming company he co-founded, for $340 million four years ago. Since exiting Pluto about a year after that deal closed, Pozin has been working on another startup venture -- one he thinks will be a much bigger deal. From a report: On Monday, Pozin's brainchild, Telly, comes out of stealth after two years in development. Telly wants to ship out thousands (and eventually millions) of free 4K HDTVs, which would cost more than $1,000 at retail, according Pozin. The 55-inch main screen is a regular TV panel, with three HDMI inputs and an over-the-air tuner, plus an integrated soundbar. The Telly TVs don't actually run any streaming apps that let you access services like Netflix, Prime Video or Disney+; instead, they're bundled with a free Chromecast with Google TV adapter.

What's new and different: The unit has a 9-inch-high second screen, affixed to the bottom of the set, which is real estate Telly will use for displaying news, sports scores, weather or stocks, or even letting users play video games. And, critically, Telly's second screen features a dedicated space on the right-hand side that will display advertising -- ads you can't skip past and ads that stay on the screen the whole time you're watching TV... and even when you're not.

This weekend the Washington Post updated the current status of AM radio: Automakers, such as BMW, Volkswagen, Mazda and Tesla, are removing AM radios from new electric vehicles because electric engines can interfere with the sound of AM stations. And Ford, one of the nation's top-three auto sellers, is taking a bigger step, eliminating AM from all of its vehicles, electric or gas-operated...

Mitsubishi, Nissan, Subaru, Toyota, Honda, Hyundai, Kia and Jaguar Land Rover — said they have no plans to eliminate AM.
The case for removing AM radio: [A]lthough 82 million Americans still listen to AM stations each month, according to the National Association of Broadcasters, the AM audience has been aging for decades. Ford says its data, pulled from internet-connected vehicles, shows that less than 5 percent of in-car listening is to AM stations. Ford spokesman Alan Hall said that because most AM stations also offer their programming online or on FM sister stations, the automaker will continue to "offer these alternatives for customers to hear their favorite AM radio music and news as we remove [AM] from most new and updated models." The 2024 Mustang is Ford's first internal combustion model to be marketed without AM...

As Ford did, BMW eliminated AM from electric models in part because "technological innovation has afforded consumers many additional options to receive the same or similar information," Adam McNeill, the company's U.S. vice president of engineering, said in a letter to Sen. Edward J. Markey (D-Mass.)... For the automakers, eliminating AM is a simple matter of numbers and progress. The AM audience keeps getting smaller and older, and the growth of alternative forms of in-car audio has been explosive.
But the Post adds this this happening "despite protests from station owners, listeners, first-responders and politicians from both major parties." and they point out that half of all AM-radio listening takes place in cars: Many AM stations don't offer alternative ways to listen to their shows. Even those that do say their audience, much of which is older, tends not to be adept at the technologies that let drivers stream anything they choose from their smartphones into their car's audio system. And despite the growing popularity of podcasts and streaming audio, a large majority of in-car listening remains old-fashioned broadcast radio, according to industry studies.

[S]ome of the country's most lucrative radio stations are still on AM, mostly all-news or news and talk stations in big cities such as New York, Chicago, Atlanta and Los Angeles.ome of the country's most lucrative radio stations are still on AM, mostly all-news or news and talk stations in big cities such as New York, Chicago, Atlanta and Los Angeles.
The Post also points out that AM and FM radio combined account for 60 percent of all in-car listening, according to a new study by Edison Research. "SiriusXM satellite radio makes up 16 percent of in-car audio use, followed by drivers' own music from their phones at 7 percent and podcasts and YouTube music videos at 4 percent each."

Long-time Slashdot reader theodp writes: AWS offered A Look Inside the Making of an NFL Football Schedule in conjunction with Thursday's release of the 2023 NFL Schedule Powered by AWS. AWS notes that producing the schedule required the use of 4,000+ AWS EC2 Spot Instances. An AWS promotional video claims they "saved the NFL an estimated $2 million each season" by leveraging AWS Spot Instances for a discount of up to 90% off compared to AWS On-Demand pricing..

"In just three months," AWS explains, "National Football League (NFL) schedule makers methodically build an exciting 18 week 272-game schedule spanning 576 possible game windows." Up until 10 years ago, AWS notes in an accompanying infographic, the NFL used a white-boarding process to manually craft its schedule.

Not to diminish the NFL's and AWS's 2023 scheduling achievement, but the 2013 documentary The Schedule Makers told the remarkable tale of the husband-and-wife duo of Henry and Holly Stephenson, who for almost a quarter of a century in the pre-Cloud era managed the scheduling for 30 Major League Baseball (MLB) teams who each played 162 regular season games a year. According to the May 1985 Atari Compendium (pg. 38), the Stephensons were using a self-written program running on a 64K IMS-8000 to help schedule games for the MLB (2,106 games over a 6-month season), NBA, and NASL/MISL (defunct soccer leagues). So perhaps the NFL's claim that "There's no way the NFL could deliver the quality of schedule that we put out every year for our fans and television partners without the contributions of our friends at AWS" should be taken with a grain of salt.

An anonymous reader quotes a report from TechCrunch: Google [on Wednesday] released MusicLM, a new experimental AI tool that can turn text descriptions into music. Available in the AI Test Kitchen app on the web, Android or iOS, MusicLM lets users type in a prompt like "soulful jazz for a dinner party" or "create an industrial techno sound that is hypnotic" and have the tool create several versions of the song. Users can specify instruments like "electronic" or "classical," as well as the "vibe, mood, or emotion" they're aiming for, as they refine their MusicLM-generated creations.

When Google previewed MusicLM in an academic paper in January, it said that it had "no immediate plans" to release it. The coauthors of the paper noted the many ethical challenges posed by a system like MusicLM, including a tendency to incorporate copyrighted material from training data into the generated songs. But in the intervening months, Google says it's been working with musicians and hosting workshops to "see how [the] technology can empower the creative process." One of the outcomes? The version of MusicLM in AI Test Kitchen won't generate music with specific artists or vocals. Make of that what you will. It seems unlikely, in any case, that the broader challenges around generative music will be easily remedied. You can sign up to try MusicLM here.

TV providers in the U.S. collectively lost 2.3 million customers in the first quarter of 2023. "With the Q1 decline, total pay-TV penetration of occupied U.S. households (including for internet services like YouTube TV and Hulu) dropped to 58.5% -- its lowest point since 1992," reports Variety, citing a report from MoffettNathason. "As of the end of Q1, U.S. pay-TV services had 75.5 million customers, down nearly 7% on an annual basis." From the report: Cable TV operators' rate of decline in Q1 reached -9.9% year over year, while satellite providers DirecTV and Dish Network fell -13.4%. In addition, so-called "virtual MVPDs" (multichannel video programming distributors) lost 264,000 customers in Q1, among the worst quarters to date for the segment. "The picture is not one that suggests that a plateau in the rate of decline is coming any time soon," Moffett wrote.

Comcast, the largest pay-TV provider in the country, dropped 614,000 video customers in Q1 -- the most of any single company -- to stand at 15.53 million at the end of the period. Asked about dwindling video business on the company's earnings call, David Watson, president and CEO of Comcast Cable, acknowledged the reality of cord-cutting and said the operator's approach is "to not subsidize unprofitable video relationships." He added, "We'll fight hard, whether it's acquisition, base management or retention. So it's important to us, but we have figured out a way to manage it financially."

Google's YouTube TV was the only provider tracked by MoffettNathanson that picked up subs in Q1, adding an estimated 300,000 subscribers in the period (to reach about 6.3 million) and netting 1.4 million subscribers over the past year. Hulu, meanwhile, has barely grown over the past three years (and loss about 100,000 live TV subs in Q1), Moffett noted, while FuboTV lost 160,000 subscribers in North America in the first quarter to mark its worst quarterly loss on record. MoffettNathason argues that the "pay TV floor" is between 50 million and 60 million U.S. homes. "As things stand, we expect cord-cutting to grow even worse and the long-theorized 'floor' to be breached."

An anonymous reader quotes a report from Ars Technica: Today, Fairphone, a company known for making smartphones that are meant to last, revealed its take on a user repair-friendly set of wireless, over-the-ear headphones. Like its smartphones, Fairphone's Fairbuds XL have a modular design with Fairphone promising easy spare parts access. However, Fairphone's currently unsure how long it will have parts for the cans in stock. And Fairphone is pulling back from its typical five-year warranty for phones, opting for two years, due to uncertainty around real-world longevity. Modular parts for the Fairbuds XL, which in true Fairphone fashion won't be sold in the US, include a headband cover that pops off to reveal the actual band, a cable connecting the speakers, and left and right speaker modules that allow users to replace a failed driver or wonky buttons.

As of this writing, the 11 modular parts aren't listed for sale, but The Verge reported a replacement battery will cost 19.95 euro, while ear cushions will cost 14.95 euro, and the three headband parts will be 19.95 euro for each. Most of the headset's electronics components, like the Bluetooth 5.1 module, reside in the left and right speaker parts, but Fairphone may start selling spare printed circuit boards, buttons, and microphones if demand warrants, The Verge said. Other headsets have offered replacement ear cushions and head straps before. However, the Fairbuds XL go further by enabling the entire frame of the headband to be swapped easily and encouraging battery replacements. There are wireless headsets with batteries you could manage to replace yourself, but doing so with the Fairbuds XL won't void the warranty.

Further, Fairbuds XL batteries are supposed to be easy to get through Fairphone, which will also sell Fairbuds XL modules through the Fairbuds App available on Play Store and App Store. A big sticking point for user repairability advocates is making spare parts accessible and affordable. Fairphone will also work with customers to provide support or contact with a repair partner if they don't want to perform repairs themselves and accept customers' unwanted components for reuse or recycling, according to The Verge.

Disney CEO Bob Iger said the company will add Hulu content to its Disney+ streaming app, adding that it will also raise the price of its ad-free streaming service later this year. CNBC reports: CEO Bob Iger said the company would soon begin offering a "one app experience" in the U.S. that incorporates Hulu content into its flagship streaming service, Disney+. Standalone options for all of Disney's platforms, including ESPN+, will remain. "This is a logical progression of our DTC offerings that will provide greater opportunities for advertisers, while giving bundle subscribers access to more robust and streamlined content resulting in greater audience engagement and ultimately leading to a more unified streaming experience," Iger said during Wednesday's earnings call.

Iger attributed the move toward a one-app location for both Disney+ and Hulu content to the "advertising potential for the combined platform." While Hulu has long offered an ad-supported option for subscribers, Disney+ launched the cheaper tier last year. Disney will begin to roll out the one-app offering by the end of the calendar year, and Iger said the company would share further details at a later time. In the company's fiscal second quarter earnings, the company reported $21.82 billion in revenue, up 13% from the same period last year and beating estimates. It did, however, shed 4 million Disney+ subscribers.

Zero interaction with employees during a transaction no longer guarantees freedom from the moral quandary of how much to tip. From a report: Prompts to leave 20% at self-checkout machines at airports, stadiums, cookie shops and cafes across the country are rankling consumers already inundated by the proliferation of tip screens. Business owners say the automated cues can significantly increase gratuities and boost staff pay. But the unmanned prompts are leading more customers to question what, exactly, the tips are for. "They're cutting labor costs by doing self-checkout. So what's the point of asking for a tip? And where is it going?" says Ishita Jamar, a senior at American University in Washington, D.C., who has noticed more self-serve tip cues at restaurants she frequents.

Tipping researchers and labor advocates say so-called tip creep is a way for employers to put the onus for employee pay onto consumers, rather than raising wages themselves. Companies say tips are an optional thanks for a job well done. Businesses "are taking advantage of an opportunity," says William Michael Lynn, who studies consumer behavior and tip culture as a professor at Cornell University's Nolan School of Hotel Administration. "Who wouldn't want to get extra money at very little cost if you could?" Square, whose technology powers many iPad point-of-sale machines, says tipped transactions were up 17% year-over-year at full-service restaurants and 16% at quick-service restaurants in the fourth quarter of 2022.

Amazon has launched a new unit, Amazon MGM Studios Distribution, that will allow the company to license Amazon Originals and other titles to third-party media companies, including streaming services and cable TV. TechCrunch reports: For the first time, titles such as âoeThe Marvelous Mrs. Maisel," "Borat Subsequent Moviefilm," "Coming 2 America," "Goliath," "Hunters," "The Tender Bar," "The Tomorrow War," "The Voyeurs" and "Without Remorse," among others, will be sold to other media outlets following their initial run on Prime Video. While the company has distributed shows before, this new venture will be on a much larger scale. Plus, Amazon Originals are mainly exclusive to Prime Video, making it an enticing sale for companies looking to have popular titles on their platforms.

The launch of Amazon MGM Studios Distribution will also allow the company to handle sales of MGM-owned franchises James Bond, Rocky and Creed, as well as "The Handmaid's Tale," "Fargo" and "Vikings." Last year, Amazon acquired MGM for $8.5 billion, giving the company access to more than 4,000 films and 17,000 TV series. [...] According to Chris Ottinger, who will lead Amazon MGM Studios Distribution, the unit will offer flexible bundles, reported Deadline, so sellers can create bundled content packages that work for them. This strategy will likely allow the company to stand out from competitors.

An anonymous reader shares an excerpt from a Motherboard article: Now, frustrated with a lack of transparency and trust around official accounts of UFO phenomena, a team of developers has decided to take matters into their own hands with an open source citizen science project called Sky360, which aims to blanket the earth in affordable monitoring stations to watch the skies 24/7, and even plans to use AI and machine learning to spot anomalous behavior. Unlike earlier 20th century efforts such as inventors proposing "geomagnetic detectors" to discover nearby UFOs, or more recent software like the short-lived UFO ID project, Sky360 hopes that it can establish a network of autonomously operating surveillance units to gather real-time data of our skies. Citizen-led UFO research is not new. Organizations like MUFON, founded in 1969, have long investigated sightings, while amateur groups like the American Flying Saucer Investigating Committee of Columbus even ran statistical analysis on sightings in the 1960s (finding that most of them happened on Wednesdays). However, Sky360 believes that the level of interest and the technology have now both reached an inflection point, where citizen researchers can actually generate large-scale actionable data for analysis all on their own.

The Sky360 stations consist of an AllSkyCam with a wide angle fish-eye lens and a pan-tilt-focus camera, with the fish-eye camera registering all movement. Underlying software performs an initial rough analysis of these events, and decides whether to activate other sensors -- and if so, the pan-tilt-focus camera zooms in on the object, tracks it, and further analyzes it. According to developer Nikola Galiot, the software is currently based on a computer vision "background subtraction" algorithm that detects any motion in the frame compared to previous frames captured; anything that moves is then tracked as long as possible and then automatically classified. The idea is that the more data these monitoring stations acquire, the better the classification will be. There are a combination of AI models under the hood, and the system is built using the open-source TensorFlow machine learning platform so it can be deployed on almost any computer. Next, the all-volunteer team wants to create a single algorithm capable of detection, tracking and classification all in one.

All the hardware components, from the cameras to passive radar and temperature gauges, can be bought cheaply and off-the-shelf worldwide -- with the ultimate goal of finding the most effective combinations for the lowest price. Schematics, blueprints, and suggested equipment are all available on the Sky360 site and interested parties are encouraged to join the project's Discord server. There are currently 20 stations set up across the world, from the USA to Canada to more remote regions like the Azores in the middle of the Atlantic [...] Once enough of the Sky360 stations have been deployed, the next step is to work towards real-time monitoring, drawing all the data together, and analyzing it. By striving to create a huge, open, transparent network, anyone would be free to examine the data themselves.

In June of this year, Sky360, which has a team of 30 volunteer developers working on the software, hopes to release its first developer-oriented open source build. At its heart is a component called 'SimpleTracker', which receives images frame by frame from the cameras, auto-adjusting parameters to get the best picture possible. The component determines whether something in the frame is moving, and if so, another analysis is performed, where a machine learning algorithm trained on the trajectories of normal flying objects like planes, birds, or insects, attempts to classify the object based on its movement. If it seems anomalous, it's flagged for further investigation.

The Today show's food reporter delivers a strange report on a viral AI-generated ad "for an imaginary pizza place called 'Pepperoni Hug Spot'."

Everything looks slightly ... off. Generated by AI, the audience is reminded constantly through the uncanny valley that the people aren't real — and neither is the pizza. "Cheese, pepperoni, vegetable, and more secret things," says the voiceover, which is also artificially generated... "Knock, knock, who's there? Pizza magic," the AI narrator says after a delivery driver (whose steering column is on the left side of his car) is shown delivering a pizza.

"Eat Pepperoni Hug Spot pizza. Your tummy say 'Thank you.' Your mouth say, 'Mmm,'" the ad continues while showing a trio of women eating pizza in the oddest possible fashion, complete with bizarre cheese pulls and facial contortions out of a food-based nightmare. "Pepperoni Hug Spot: Like family, but with more cheese..."

Using AI technologies Runway Gen2, Chat GPT4, Eleven Labs, Midjourney and Soundraw AI, the creator was able to produce the background music, voiceover, graphics, video and even generate the script for the ad. "I used Adobe After Effects to combine all the elements, adding title cards, transitions, and graphics," he adds... Seeing it spread, he whipped up a website that fit the uncanny vibe of the commercial and even created merch including hats and T-shirts.

"I figured I should capitalize on my 15 minutes of internet fame, right?" he jokes.
Twitter CEO Elon Musk "simply responded with an exploding head emoji."

And Pizza Hut's official Twitter account posted their reaction: "My heebies have been jeebied."

UPDATE: Saturday Pizza Hut Canada "transformed" one of its restaurants into the restaurant from the commercial, emblazoning the logo for Pepperoni Hug Spot onto its boxes, employee t-shirts, and the sign outside. There's two videos on the official Instagram feed for Pizza Hut Canada (which for the occasion changed its tagline to "Like family, but with more cheese.")

One video closes by promising the pizza does, indeed, contain "secret things."

All across North America today, over 2,000 comic book stores are celebrating Free Comic Book Day. As it enters its third decade — the event started in 2001, according to Wikipedia — there'll be over two dozen free comic books to choose from this, and enthusiastic stores trying to dial up the fun even more.

16 stores are also giving away Ant-Man and The Wasp: Quantumania in special "ant-sized" boxes — the size of penny — with tiny versions of the cover art from the full-sized Blu-Ray disc boxes (along with a code for a digital version of the movie). The Bleeding Cool site has a running list of stores doing additional special "cool stuff," including cookie giveaways, discounts on paperbacks and comic books, and personal appearances by comic book writers and artists.

Geek-friendly free comic books this year:

• Dark Horse Comics' Star Wars/ Avatar: The Last Airbender
• D.C. Comics is offering Dawn of DC — Knight Terrors
• Marvel is offering several multi-character books, including Spider-Man/Venom, the Avengers/X-Men, and a sampler of the upcoming graphic novel biography of Stan Lee
• IDW's free comics include the Teenage Mutant Ninja Turtles
• There's also the official prequel to the new Street Fighter 6 video game
• Also available: Runescape: Untold Tales/God Wars
• Fantagraphics even has a preview of its upcoming Fabulous Furry Freak Brothers book.
• Archie Horror Presents: The Cursed Library

Bleeding Cool also has previews the artwork from Star Trek: Prelude to Day of Blood, a teaser for a coming "comic book crossover event between IDW's main Star Trek comic and the Star Trek: Defiant series" (that's also accompanied by a Lower Decks comic book story).

Just remember, in 2017 NPR had this advice for visiting comics fans. "While you're there, buy something... The comics shops still have to pay for the 'free' FCBD books they stock, and they're counting on the increased foot traffic to lift sales."

A new web portal allows "Star Trek" fans to explore the iconic bridge of the starship Enterprise through 360-degree, 3D models and learn about its evolution throughout the franchise's history. Smithsonian Magazine reports: The site features 360-degree, 3D models of the various versions of the Enterprise, as well as a timeline of the ship's evolution throughout the franchise's history. Fans of the show can also read detailed information about each version of the ship's design, its significance to the "Star Trek" storyline and its production backstory. Developed in honor of the "Star Trek: Picard" series finale, which dropped late last month on Paramount+, the portal is a collaboration between the Roddenberry Estate, the Roddenberry Archive and the technology company OTOY. A group of well-known "Star Trek" artists -- including Denise and Michael Okuda, Daren Dochterman, Doug Drexler and Dave Blass -- also supported the project.

The voice of the late actress Majel Roddenberry, who played the Enterprise's computer for years, will be added to the site in the future. Gene Roddenberry died in 1991, followed by Majel Roddenberry in 2008; the two had been married since 1969. The portal's creators also released a short video, narrated by actor John de Lancie, exploring every version of the Enterprise's bridge to date, "from its inception in Pato Guzman's 1964 sketches, through its portrayal across decades of TV shows and feature films, to its latest incarnation on the Enterprise-G, as revealed in the final episode of 'Star Trek: Picard,'" per the video description. Accompanying video interviews with "Star Trek" cast and crew -- including William Shatner, who played Captain Kirk in the original series, and Terry Matalas, a showrunner for "Star Trek: Picard" -- also explore the series' legacy.

Canadian singer-songwriter Grimes went viral late last month when she invited her fans to create music using her voice, stating that should would split 50% of royalties for any successful AI-generated song. Now, the artist has unveiled an AI voice software, called Elf.Tech, to make it even easier for users to deepfake her voice for their own AI songs. Pitchfork reports: Artists can commercially release the results in exchange for half of any master-recording royalties. Grimes announced a pair of new songs, "Music for Machines" and "I Wanna Be Software," in tandem with the launch, though their release date has not been set. In a Twitter thread about the software, Grimes asked users to "be tasteful" but said she would only block extreme uses, such as an AI Grimes "Nazi anthem" ("unless it's somehow in jest a la The Producers I guess"). "Baby murder songs" are also off the menu.

Through Elf.Tech, Grimes has also shared a demo of her collaborative remake of Richie Hawtin's Plastikman track "Passage (Out)." Find it in the "Bounces" folder on the website. You can also access stems to train your own Grimes AI. The project is powered by the generative AI Triniti.

An anonymous reader quotes a report from ZDNet: When you think of digital entertainment, your mind might turn first to online video-streaming services, such as Sling TV or YouTube TV, and video-on-demand services, including Netflix or Acorn TV. However, consultant Deloitte's 17th annual "Digital Media Trends" survey suggests traditional television shows and movies are no longer the only forms of entertainment. Younger generations, often called Gen Zs and Millennials, are increasingly turning to user-generated content (UGC) -- which relies on unpaid contributors rather than traditional media professionals -- and video games to find personal fulfillment, value, and meaning. These younger users are creating a vibrant, immersive, and social tapestry of experiences with UGC, video games, music, and social media all playing significant roles. And that move towards UGC and gaming could have big implications for everyone.

Deloitte's survey found that about a third (32%) of consumers view online experiences as meaningful substitutes for in-person interactions, with that proportion increasing to 50% among Gen Zs and Millennials. Almost half (48%) of these younger generations engage more with others on social media than in the physical world, and 40% of them socialize more in video games than offline. Of course, it's not only younger people who view online experiences as meaningful substitutes for in-person interactions. [...] Yet those born after 1981, the usual dividing line between Generation X and Millennials, are much more inclined to live their lives online.

"The Super Mario Bros. Movie" is officially the first film of the year to cross the coveted $1 billion milestone at the global box office. From a report: As of Sunday, after 26 days of release, the animated video game adaptation, from Universal, Illumination and Nintendo, has grossed $490 million in North America and $532 million internationallly. It's only the fifth movie of pandemic times to join the $1 billion club, following "Spider-Man: No Way Home," "Top Gun: Maverick," "Jurassic World Dominion" and "Avatar: The Way of Water."

"The Super Mario Bros. Movie" opened in theaters on April 5 and generated a towering $204 million in its first five days of release, notching the biggest opening weekend of the year and the second-biggest debut ever for an animated movie. Since then, it has become the highest grossing movie domestically and globally of 2023, as well as the highest-grosser ever for a film based on a video game. Those records are especially encouraging because the last time that Mario and Luigi graced the big screen, in 1993's disastrous live-action "Super Mario Bros," became a legendary example of Hollywood's inability to adapt video games.

schwit1 shares a report from Rolling Stone: It was a busy day for the live music industry in Washington [on Wednesday] as senators introduced multiple pieces of legislation aimed at improving transparency and competition in ticketing. One of the most common complaints among music fans in a long list of gripes about the modern ticketing industry is the hidden fees that get tacked on at the very end of a purchase, adding a deceptive extra costs customers won't even see until they've already selected their seats based on a different price. The Transparency in Charges for Key Events Ticketing, or TICKET Act, could end that annoyance. Introduced on Tuesday by U.S. Commerce Committee Chair Maria Cantwell (D-Wash) and committee ranking member Ted Cruz (R-Texas), the bill, if passed, would require ticket sellers for concerts and sporting events to disclose the total price of a ticket including fees right away. Fees themselves can be a significant addition for concert tickets, usually adding a 20 to 30-percent extra charge on tickets but sometimes well exceeding that. Joe Biden pushed for a reform on "junk fees" earlier this year.

While passing the new legislation wouldn't stop the actual fees themselves, it would certainly be a step forward in making the business more transparent for consumers. While the bill would pass all-in prices on a federal level, some states like New York already enacted the policy. "Right now, one company is leveraging its power to lock venues into exclusive contracts that last up to ten years, ensuring there is no room for potential competitors to get their foot in the door," Klobuchar said, seemingly referencing Ticketmaster but not mentioning it by name. "Without competition to incentivize better services and fair prices, we all suffer the consequences. The Unlock Ticketing Markets Act would help consumers, artists, and independent venue operators alike by making sure primary ticketing companies face pressure to innovate and improve."

An anonymous reader shares a report: A young Harrison Ford will grace cinema screens for 25 minutes this summer -- aided by some new Industrial Light & Magic (ILM) software. The news that LucasFilm's Indiana Jones and the Dial of Destiny would feature a de-aged Ford came at the end of last year, but an interview with director James Mangold in Total Film just revealed it will be for almost a fifth of the film's running time.

The fifth Indiana Jones iteration starts with an opening scene from 1944 -- about eight years after Indiana Jones and the Raiders of the Lost Ark took place. "My hope is that, although it will be talked about in terms of technology, you just watch it and go, 'Oh my God, they just found footage. This was a thing they shot 40 years ago," Kathleen Kennedy, president of Lucasfilm and a producer, told Empire. The rest of the movie shoots forward to 1969, with Indy on a mission to prevent a comeback of Nazism.

Netflix lost more than one million users in Spain in the first three months of 2023 according to market research group Kantar, a sign that the streaming giant's crackdown on password-sharing could backfire. From a report: In early February, Spain became one of Netflix's first markets to introduce a monthly fee for users who shared their log-in details with another household and technical measures to detect such sharing. The move was linked to a fall in users of more than a million, two thirds of whom were using someone else's password, according to Kantar's research, which is based on surveys of household streaming habits.

"It's clear this steep drop is due to the crackdown," said Dominic Sunnebo, global insight director at Kantar's Worldpanel Division, adding that the loss of a million users, even if most weren't paid subscribers, would be a blow to Netflix in terms of word of mouth recommendation for its shows and service. Subscription cancellations in the first quarter tripled compared to the previous period, according to Kantar's research. Of all remaining Netflix subscribers in Spain, one-tenth said they planned to unsubscribe in the second quarter. Spanish subscribers are charged $6.57 a month to add members outside their household. A similar fee was introduced in Portugal, Canada and New Zealand after a roll-out in several Latin American countries.

Joe Russo, the co-director of Avengers: Endgame, in an interview on the impact he thinks AI is going to play out in the world of video games, movies and television. He said: This is like a mind-bending question, right? I mean, we've had conversations about how it can be used, and look, Gen Z is very unique because it's a generation that has -- If there were incremental movements in technology over the last, say, 100 years, 150 years, they were the first generation with an exponential movement, right? So there's a real possibility now for technology to become a really important factor in our lives because it's been embraced by Gen Z, and they grew up with it, they understand it, they know how to use it. That's important, right? We're not in a world where, you know, your uncle doesn't know how to send emails anymore. We're in a world where the entire generation has a facile expertise in it, and is also not afraid of it.

So potentially, what you could do with it is obviously use it to engineer storytelling and change storytelling. So you have a constantly evolving story, either in a game or in a movie, or a TV show. You could walk into your house and save the AI on your streaming platform. âoeHey, I want a movie starring my photoreal avatar and Marilyn Monroe's photoreal avatar. I want it to be a rom-com because I've had a rough day," and it renders a very competent story with dialogue that mimics your voice. It mimics your voice, and suddenly now you have a rom-com starring you that's 90 minutes long. So you can curate your story specifically to you.

That's one thing that it can do, but it can also, on a communal level, populate the world of the game, have intelligence behind character choice, you know, the computer-run characters in the game that can make decisions learn your play style, make it a little harder for you, make it a little easier for you, curate the story. Say you want Fortnite to be more of a horror game, right? Then you could ask the AI to ramp up the horror elements of it. So again, you could curate your experience.I think that's where it's going. How quickly we get there, I don't know, but that's where it's going.

Canadian singer-songwriter Grimes has invited her fans to create music using her voice, stating that she would split 50% of royalties for any successful AI-generated song using her voice. On Sunday night she tweeted: "I'll split 50% royalties on any successful AI generated song that uses my voice. Same deal as I would with any artist i collab with. Feel free to use my voice without penalty. I have no label and no legal bindings."

She also said she welcomes the open sourcing of art and an end to copyright. "Im just curious what even happens and interested in being a Guinea pig." From a report: Grimes has long embraced AI as a techno artist. In 2020, her first album to top the Billboard dance charts was Miss Anthropocene, named for the effects of technology on Earth's ecology and climate in the post-Industrial Revolution era. It was also in 2020 that she teamed up with the algorithmic mood music startup Endel to create an AI-generated lullaby for her first child with SpaceX founder Elon Musk who they named X AE A-12 with the Elven spelling of AI, according to Grimes.

"Everyday I thank the overlords of Ableton for cleaning up my tracks, but I do worry though that AI will outpace us and make musicians obsolete. It's inevitable," she warned at Web Summit 2020. With millions of followers across YouTube, Instagram and Twitter and hits like Oblivion, Kill V. Maim and Go, her call for AI collaboration could be a game changer.