As viewership drops for Hollywood's annual Academy Awards ceremony, "Everyone has a theory about the decline..." argues an opinion piece in the New York Times.

"My favored theory is that the Oscars are declining because the movies they were made to showcase have been slowly disappearing." When the nominees were announced in February, nine of the 10 had made less than $40 million in domestic box office. The only exception, "Dune," barely exceeded $100 million domestically, making it the 13th-highest-grossing movie of 2021. All told, the 10 nominees together have earned barely one-fourth as much at the domestic box office as "Spider-Man: No Way Home." Even when Hollywood tries to conjure the old magic, in other words, the public isn't there for it anymore.... Sure, non-superhero-movie box office totals will bounce back in 2022, and next year's best picture nominees will probably earn a little more in theaters. Within the larger arc of Hollywood history, though, this is the time to call it: We aren't just watching the decline of the Oscars; we're watching the End of the Movies....

[W]hat looks finished is The Movies — big-screen entertainment as the central American popular art form, the key engine of American celebrity, the main aspirational space of American actors and storytellers, a pop-culture church with its own icons and scriptures and rites of adult initiation.... The internet, the laptop and the iPhone personalized entertainment and delivered it more immediately, in a way that also widened Hollywood's potential audience — but habituated people to small screens, isolated viewing and intermittent watching, the opposite of the cinema's communalism. Special effects opened spectacular (if sometimes antiseptic-seeming) vistas and enabled long-unfilmable stories to reach big screens. But the effects-driven blockbuster, more than its 1980s antecedents, empowered a fandom culture that offered built-in audiences to studios, but at the price of subordinating traditional aspects of cinema to the demands of the Jedi religion or the Marvel cult. And all these shifts encouraged and were encouraged by a more general teenage-ification of Western culture, the extension of adolescent tastes and entertainment habits deeper into whatever adulthood means today....

Under these pressures, much of what the movies did in American culture, even 20 years ago, is essentially unimaginable today. The internet has replaced the multiplex as a zone of adult initiation. There's no way for a few hit movies to supply a cultural lingua franca, given the sheer range of entertainment options and the repetitive and derivative nature of the movies that draw the largest audiences. The possibility of a movie star as a transcendent or iconic figure, too, seems increasingly dated. Superhero franchises can make an actor famous, but often only as a disposable servant of the brand. The genres that used to establish a strong identification between actor and audience — the non-superhero action movie, the historical epic, the broad comedy, the meet-cute romance — have all rapidly declined...

[T]he caliber of instantly available TV entertainment exceeds anything on cable 20 years ago. But these productions are still a different kind of thing from The Movies as they were — because of their reduced cultural influence, the relative smallness of their stars, their lost communal power, but above all because stories told for smaller screens cede certain artistic powers in advance.
The article argues that episodic TV also cedes the Movies' power of an-entire-story-in-one-go condensation. ("This power is why the greatest movies feel more complete than almost any long-form television.") And it ultimately suggests that like opera or ballet, these grand old movies need "encouragement and patronage, to educate people into loves that earlier eras took for granted," and maybe even "an emphasis on making the encounter with great cinema a part of a liberal arts education. "

In 2014 one lone film-maker had even argued that Ben Stiller's spectacular-yet-thoughtful Secret Life of Walter Mitty "might be the last of a dying breed."

GitHub has introduced a new feed into the dashboard of users and it doesn't appear to have gone down well with the code shack's regulars. The Register reports: As soon as the new feed arrived, replete with all kinds of exciting suggestions for developers to look at, the complaints began rolling in as users worried the recommendations were turning GitHub into something distressingly like a social media platform. "I do not need to see recommendations, nor activity of people I don't follow," said one user. "Don't fix what's not broken." Others were blunter, stating: "I don't want algorithmic feed" and requesting a feed on stuff that actually mattered â" issues, releases, PRs and so on. GitHub pushed out a new beta version of its Home Feed earlier this week, with the avowed intention of developers reaching a wider audience and building communities. The plan is to make discovery easier and help users "find new repositories or users to follow based on your interests."

As if to demonstrate the levels of discontent around GitHub's new feature, a Chrome extension quickly showed up to disable the social feed by removing the "For You" section on the GitHub dashboard. Not all users were upset by the appearance of the new feed, and GitHub staff popped up to promise that there would be an option to make one's profile private and opt out of pretty much everything via a single setting. It will, however, take until late April before this option is likely to appear, they said. Which prompted the obvious question: "Why is this opt-out instead of opt-in?"

Variety takes a long look at Halo, the new nine-episode TV show on Paramount+ adapting "Microsoft's crown jewel Xbox franchise": When the show premieres on March 24, it will be the culmination of 17 years of false starts and dogged striving, including a Peter Jackson-produced feature film that fell apart in the 2000s, more than six years of development by Amblin Television in the 2010s, and a pandemic-split production in Hungary for the nine-episode first season that lasted nearly two years....

On June 6, 2005, in a stunt that instantly became the stuff of Hollywood legend, Microsoft sent a small platoon of actors dressed in full Master Chief armor to the major film studios (other than Sony Pictures, naturally). They were armed with a "Halo" screenplay written by Alex Garland and take-it-or-leave-it deal terms heavily weighted in the company's favor. The result was a movie co-financed by Universal and 20th Century Fox and produced by Peter Jackson, who hired up-and-coming director Neill Blomkamp to make his feature debut with the film. According to Jamie Russell's book "Generation Xbox: How Video Games Invaded Hollywood," Microsoft was an uneasy and at times overbearing creative partner, and the project ultimately fell apart in October 2006. (Blomkamp and Jackson instead made 2009's "District 9," which was nominated for four Oscars, including best picture.)

By 2011, Microsoft had parted ways with Halo's original developer, Bungie, and created an in-house studio, 343 Industries, to keep the franchise alive. As part of that effort, veteran Microsoft executive Kiki Wolfkill began exploring anew how to expand the game into a live-action adaptation — or, in Wolfkill's words, "linear entertainment...." Don Mattrick, then the head of Microsoft's Xbox unit, called his friend Steven Spielberg, himself a passionate gamer and a Halo fan. Soon after, 343's executives found themselves pitching Amblin Television presidents Justin Falvey and Darryl Frank. "They asked for permission to get in before we came into the room, and they covered a large conference table with the canon of Halo," says Falvey. That canon — a vast science fiction saga that spans hundreds of millennia and involves ancient aliens who created colossal, ring-shaped structures called the Halo Array — comes as much from dozens of tie-in novels, comic books and exhaustive guides and encyclopedias as from the games themselves. "It was aisles deep," Falvey recalls. "It was incredible."

Everyone who spoke with Variety, actually, cited Halo's expansive mythology as the factor that differentiated the series from other video game fare and made it so attractive as source material for event-size television.... [W]hen Kyle Killen ("Lone Star") came on board as showrunner in 2018, he hit upon a shrewd narrative path that embraces the video game DNA: Master Chief starts as a complete cypher, engineered to be so devoid of individuality that he literally has no sense of taste, and the rest of the season slowly fills out the void. "We're going to tell a story about a man discovering his own humanity," says Kane, who joined the show as co-showrunner in 2019. "In so doing, he's invited the audience to discover that guy's humanity too."

Eventually, Levine says, "we got the script to the place where we said, 'You know, this is a deep dive into character. What are the costs of turning human beings into killing machines...?'"

Kane estimates he wrote upwards of 265 drafts of the first nine episodes, balancing everything from the needs of the expansive production to story notes from 343 and Spielberg to the desire to fold in as much from the Halo mythology as possible.
The article calls the show the strong argument yet from Paramount+ "that it belongs at the big kids table with Netflix, Disney Plus, Amazon Prime Video and HBO Max."

The article notes Paramount+ already has five ongoing Star Trek series (including Discovery and Picard). And Variety also reported earlier that South Park will stream exclusively on Paramount+ starting in 2025, joining the streaming service's 14 exclusive South Park "specials" (hour-long episodes like 2021's "South Park: Post COVID").

Does Apple have a "Pro" problem? "[Y]ears of Apple and competitors slapping the name onto wireless earbuds and slightly fancier phones have made it hard to tell what 'Pro' even means," argues The Verge's Mitchell Clark. It could be the reason behind Apple's recently-launched Mac "Studio." From the report: From the jump, Apple made it clear who the Mac Studio and Studio Display were for. It showed them being used by musicians, 3D artists, and developers in its presentation, and the message was clear: these are products for creative professionals or people who aspire to be creative professionals. You know, the same exact crowd it's targeted with MacBook Pro commercials for years. "My first thought was, 'Oh, I wonder when the iPhone Studio comes out,'" says Jonathan Balck, co-founder and managing director of ad agency Colossus, in an interview with The Verge. "Pro was exclusive, and it was about one way of doing things, but the whole culture is moving toward creativity," he adds while musing whether we could see Apple's Pro branding shift to become Studio branding instead.

[T]o me, the Mac Studio line is a clear successor to Apple's iMac Pro. Both computers are powered by monstrous CPUs and come standard with 10Gb Ethernet and a healthy crop of Thunderbolt and USB ports. I'm convinced that, had Apple released the new Studio even two years ago, it would've put "Pro" in the name. (Though, to play devil's advocate, I'm not as sure it would've done so for the Studio Display.) Some marketing experts tell me that the word "Pro" is starting to get long in the tooth, and not just from overuse. "The previous term Pro is, in my opinion, outdated and dry," says Keith Dorsey, founder and CEO of the creative marketing group and management company YoungGuns Entertainment. Balck agrees; "If you look at the word Pro, that is in many ways restrictive," he says in an interview, explaining that when you say a product is "professional," it evokes ideas like job interviews, portfolios, and standoffishness. Pro products, he says, come across as just for those who use creativity to get a paycheck.

The reason Apple may need to, though, is because it led the industry in thoroughly overusing the word "Pro" to the point where it's lost all meaning. It's hard to pinpoint where exactly this started (though, in my mind, it was with the two-port MacBook Pro model), but now the word gets slapped on everything. Want to sell wireless earbuds for even more money? Those are Pro earbuds now. Want to have a regular and fancy version of your phone? No problem, call the nice one the Pro. [...] But Apple's new word, "studio," seems to come ready-made to excite the company's target audience.

Ever since Russia invaded Ukraine, the fate of the International Space Station, which has 15 partner nations and is the crown jewel of unity in space between NASA and Russia, has been up in the air (figuratively, of course). What we do know is that there are no plans to abandon NASA astronaut Mark Vande Hei on the space station, despite a number of stories claiming otherwise. "Vande Hei is scheduled to return to Earth in a Soyuz capsule at the end of this month, landing in Kazakhstan," reports Ars Technica. "NASA officials are expected to be there to greet him and bring him back to the United States." Ars Technica sets the record straight and explains where these Russian "threats" originated: The source of this "news" appears to be a video published more than a week ago by a Kremlin-aligned publication, RIA Novosti. Roscosmos TV provided footage for the video, but in sharing it acknowledged that the video was a "joke." Now, this is an exceptionally poor joke given the tensions on Earth, but it is important to understand that sharing a video a week ago does not mean Russia is threatening to leave Vande Hei behind. Nothing has changed since the video was posted. Since the beginning of this crisis, NASA officials have said operations with Russian colleagues working on the space station have proceeded nominally. "Operations have not changed at all," one NASA source confirmed Friday. On Monday, NASA's manager of the International Space Program, Joel Montalbano, is scheduled to speak at a news conference about upcoming spacewalks. He likely will say something similar.

Additionally, Vande Hei could not be abandoned. At present there are three other Americans living on board the International Space Station -- Raja Chari, Kayla Barron, and Thomas Marshburn. There is also an allied astronaut, Matthias Maurer, from Germany. NASA has its own transportation to and from the station, so Vande Hei can be assured of a safe ride home whenever NASA wants. The status of the ISS partnership is subject to change, of course. It could do so quite quickly. Russia is doing horrible things in Ukraine, and the Western world has responded with harsh sanctions. No one really knows whether Vladimir Putin will decide to end Russian participation in the International Space Station. Certainly, making it appear to a domestic audience that he was stranding a NASA astronaut in space might make him look "strong" to some Russian people. But there are simply no indications this will happen.

Disney+ will be introducing an ad-supported subscription tier later this year, Disney announced on Friday. From a report: The company didn't provide a launch date or pricing, but says it will release specific details about the new offering later this year. The new tier will roll out in the United States in late 2022, with plans to expand internationally next year. The streaming service's current ad-free plan costs $7.99 per month or $79.99 per year. Adding a cheaper ad-supported tier for the streaming service will likely help the company further expand its subscriber base. In a press release, Disney said the new tier will be a "building block" in its path to achieve its long-term target of 230-260 million Disney+ subscribers by 2024.

"Expanding access to Disney+ to a broader audience at a lower price point is a win for everyone -- consumers, advertisers, and our storytellers," said Kareem Daniel, the chairman of Disney Media and Entertainment Distribution, in a statement. "More consumers will be able to access our amazing content. Advertisers will be able to reach a wider audience, and our storytellers will be able to share their incredible work with more fans and families." Following the launch, the streaming service will join several other streaming services that offer ad-supported tiers, including HBO Max, Paramount+ and Discovery+. Hulu, which Disney owns and operates, also offers an ad-supported tier for $6.99 per month.

Speaking to the BBC on the 30th anniversary of Civilization, American developer Sid Meier says if major companies continue to focus on monetization or other things that are not gameplay-focused, they risk losing the audience. From the report: "The real challenge and the real opportunity is keeping our focus on gameplay," says American developer Sid Meier. "That is what is unique, special and appealing about games as a form of entertainment. When we forget that, and decide it's monetization or other things that are not gameplay-focused, when we start to forget about making great games and start thinking about games as a vehicle or an opportunity for something else, that's when we stray a little bit further from the path."

The financial model that supports how games companies make their money has changed dramatically in the past decade or so. Now many developers and publishers rely on in-game purchases to help with their bottom line rather than solely on the up-front cost of buying a title to play. [...] Some games companies are also exploring the introduction of non-fungible-tokens (NFTs) - a form of digital art that players can buy and own -- into their games. [...] Sid Meier says that if major companies continue to focus on ways like this to monetize gaming, they risk losing the audience: "People can assume that a game is going to be fun and what it needs for success are more cinematics or monetization or whatever -- but if the core just is not there with good gameplay, then it won't work. "In a sense gameplay is cheap... The game design part is critical and crucial but doesn't require a cast of thousands in the way some of the other aspects do. So it's perhaps easy to overlook how important the investment in game design and gameplay is."

The global games market is reported to be worth around $175 billion and is forecast to almost double in five years. But Sid Meier says that continued growth isn't guaranteed: "There are lots of other ways that people can spend their leisure time... I think the way the internet works, once a shift starts to happen, then everybody runs to that side of the ship. "I think we need to be sure that our games continue to be high quality and fun to play - there are so many forms of entertainment out there now. We're in a good position... but we need to be sure we realize how critical gameplay is - and how that is the engine that really keeps players happy, engaged and having fun."

Sid says he has no plans to retire just yet, and explains the most gratifying change he's experienced during his more than 30 years in the industry, is the wider public's shift in attitude when it comes to games. People were telling him back in 1991 that he was "wasting his time" working in games - now he smiles, as people say to him: "I wish I could get a job making games."

Sony Pictures Entertainment is consolidating its anime businesses under the Crunchyroll banner to better compete in the growing streaming market for Japanese animation. From a report: The company is adding hundreds of hours of programming and dozens of titles, including "Cowboy Bebop," to the Crunchyroll streaming service that were previously available through its Funimation outlet, the company said Tuesday. Culver City-based Sony Pictures, the film and TV entertainment arm of Tokyo electronics giant Sony Corp., made a big bet on the anime market last year when it bought streaming service Crunchyroll from AT&T for $1.175 billion. The problem was that Sony then had two subscription streamers focused on the market for Japanese animation. Fans had to subscribe to both Crunchyroll and Funimation to get everything they wanted, in addition to Netflix and other services, said Colin Decker, who runs Sony's anime businesses.

nray writes: Mayor Eric Adams called for people to revive the state's economy by getting "back to work" -- and said he was tired of hearing excuses about the COVID-19 pandemic. "New Yorkers, it's time to get back to work," Adams said during a speech at the state Democratic Committee's Nominating Convention. "You can't tell me you're afraid of COVID on Monday and I see you in a nightclub on Sunday." The crack sparked laughter among the audience at the Sheraton New York Times Square Hotel. Adams said that white-collar workers who continued working from home were hurting service-oriented businesses that rely on a steady stream of customers. "That accountant that's not in his office space is not going to the cleaners," he said. "It's not going to the restaurant. It's not allowing the cooks, the waiters, the dishwashers [to make a living]."

A top official of India's central bank has compared cryptocurrency to a "Ponzi scheme" and suggested an outright ban in its sharpest criticism just weeks after the government proposed taxation of the virtual digital asset and paved way to recognize it as legal tender in the world's second-largest internet market. From a report: T. Rabi Sankar, deputy governor of Reserve Bank of India (RBI), told an audience at a banking conference that cryptocurrencies have been "specifically developed to bypass the regulated financial system," and are not backed by any underlying cash flow. "We have also seen that cryptocurrencies are not amenable to definition as a currency, asset or commodity; they have no underlying cash flows, they have no intrinsic value; that they are akin to Ponzi schemes, and may even be worse," he said. "As a store of value, cryptocurrencies like bitcoin have given impressive returns so far, but so did tulips in 17th century Netherlands."

An anonymous reader quotes a report from TechCrunch: Use of Google Analytics has now been found to breach European Union privacy laws in France -- after a similar decision was reached in Austria last month. The French data protection watchdog, the CNIL, said today that an unnamed local website's use of Google Analytics is non-compliant with the bloc's General Data Protection Regulation (GDPR) -- breaching Article 44 which covers personal data transfers outside the bloc to so-called third countries which are not considered to have essentially equivalent privacy protections. The U.S. fails this critical equivalence test on account of having sweeping surveillance laws which do not provide non-U.S. citizens with any way to know whether their data is being acquired, how it's being used or to seek redress for any misuse.

France's CNIL has been investigating one of 101 complaints filed by European privacy advocacy group, noyb, back in August 2020 -- after the bloc's top court invalidated the EU-U.S. Privacy Shield agreement on data transfers. Since then (indeed, long before) the legality of transatlantic transfers of personal data have been clouded in uncertainty. While it has taken EU regulators some time to act on illegal data transfers -- despite an immediate warning from the European Data Protection Board of no grace period in the wake of the July 2020 CJEU ruling (aka 'Schrems II) -- decisions are now finally starting to flow. Including another by the European Data Protection Supervisor last month, also involving Google Analytics. In France, the CNIL has ordered the website which was the target of one of noyb's complaints to comply with the GDPR -- and "if necessary, to stop using this service under the current conditions" -- giving it a deadline of one month to comply.

"[A]lthough Google has adopted additional measures to regulate data transfers in the context of the Google Analytics functionality, these are not sufficient to exclude the accessibility of this data for U.S. intelligence services," the CNIL writes in a press release announcing the decision. "There is therefore a risk for French website users who use this service and whose data is exported." The CNIL does leave open the door to continued use of Google Analytics -- but only with substantial changes that would ensure only "anonymous statistical data" gets transferred. The French regulator is also very emphatic that under "current conditions" use of Google Analytics is non-compliant -- and may therefore need to cease in order for the site in question to comply with the GDPR. The CNIL also suggests use of an alternative analytics tool which does not involve a transfer outside the EU to end the breach. Additionally, it says it's launched an evaluation program to determine which website audience measurement and analysis services may be exempt from the need to obtain user consent (i.e. because they only produce anonymous statistical data which can be exported legally under GDPR). Which suggests the CNIL could issue guidance in future that recommends GDPR compliant alternatives to Google Analytics.

An anonymous reader quotes a report from Motherboard: A section of the New York Police Department (NYPD) focused on intelligence gathering received a demo of NSO Group's controversial Pegasus spyware product, according to an email obtained by Motherboard. The news provides more insight into Israeli company NSO Group's push into the surveillance market in the United States, and specifically its pitching of the company's technology to American police forces. The findings come after the New York Times reported that the FBI bought a Pegasus license in 2019 for evaluation purposes.

"There will be a demo of the attached investigative software at the Rutgers School of Criminal Justice," James Sheehan, a program manager from the Northern New Jersey-Newark/Jersey City UASI, wrote in the August 2015 email. The UASI is the Urban Area Security Initiative, a program administered by the Department of Homeland Security which brings together bodies from law enforcement, fire service, public health, and more to address threats of terrorism and other issues. "The audience is the UASI/CorrStat region and NYPD intel," Sheehan continued. Recipients on Sheehan's email inviting people to attend included representatives from the Bergen County Prosecutor's Office, Jersey City's public safety agency, and the Paterson Police Department, a city of just over 150,000.

Attached to Sheehan's email was a brochure for Pegasus, NSO Group's hacking product, which advertised the tool's ability to obtain a target's calls, contacts, emails, WhatsApp messages, track their location, and more. The brochure contains a logo for WestBridge, NSO Group's North American branch. "Turn Your Target's Smartphone into an Intelligence Gold Mine," the Pegasus brochure reads. "NYPD intel" likely refers to the NYPD's Intelligence Bureau. Its mission is to "detect and disrupt criminal and terrorist activity through the use of intelligence-led policing. In combination with traditional policing methods, uniformed officers and civilian analysts in the Intelligence Bureau collect and analyze information from a variety of sources in order to advance criminal and terrorist investigations," according to the NYPD's website.

Players generate a wealth of revealing psychological data -- and some companies are soaking it up. From a report: While there are no numbers on how many video game companies are surveilling their players in-game (although, as a recent article suggests, large publishers and developers like Epic, EA, and Activision explicitly state they capture user data in their license agreements), a new industry of firms selling middleware "data analytics" tools, often used by game developers, has sprung up. These data analytics tools promise to make users more amenable to continued consumption through the use of data analysis at scale.

Such analytics, once available only to the largest video game studios -- which could hire data scientists to capture, clean, and analyze the data, and software engineers to develop in-house analytics tools -- are now commonplace across the entire industry, pitched as "accessible" tools that provide a competitive edge in a crowded marketplace by companies like Unity, GameAnalytics, or Amazon Web Services. (Although, as a recent study shows, the extent to which these tools are truly "accessible" is questionable, requiring technical expertise and time to implement.) As demand for data-driven insight has grown, so have the range of different services -- dozens of tools in the past several years alone, providing game developers with different forms of insight. One tool -- essentially Uber for playtesting -- allows companies to outsource quality assurance testing, and provides data-driven insight into the results. Another supposedly uses AI to understand player value and maximize retention (and spending, with a focus on high-spenders).

Developers might use data from these middleware companies to further refine their game (players might be getting overly frustrated and dying at a particular point, indicating the game might be too difficult) or their monetization strategies (prompting in-app purchases -- such as extra lives -- at such a point of difficulty). But our data is not just valuable to video game companies in fine-tuning design. Increasingly, video game companies exploit this data to capitalize user attention through targeted advertisements. As a 2019 eMarketer report suggests, the value of video games as a medium for advertising is not just in access to large-scale audience data (such as the Unity ad network's claim to billions of users), but through ad formats such as playable and rewarded advertisements -- that is, access to audiences more likely to pay attention to an ad.

"People are still paying between $5,000 and $50,000 to attend the annual flagship TED conference. In 2021," notes The Drift magazine, noting last year's event was held in Monterey, California. "Amid wildfires and the Delta surge, its theme was 'the case for optimism.'"

The magazine makes the case that over the last decade TED talks have been "endlessly re-articulating tech's promises without any serious critical reflection." And they start with how Bill Gates told an audience in 2015 that "we can be ready for the next epidemic." Gates's popular and well-shared TED talk — viewed millions of times — didn't alter the course of history. Neither did any of the other "ideas worth spreading" (the organization's tagline) presented at the TED conference that year — including Monica Lewinsky's massively viral speech about how to stop online bullying through compassion and empathy, or a Google engineer's talk about how driverless cars would make roads smarter and safer in the near future. In fact, seven years after TED 2015, it feels like we are living in a reality that is the exact opposite of the future envisioned that year.....

At the start of the pandemic, I noticed people sharing Gates's 2015 talk. The general sentiment was one of remorse and lamentation: the tech-prophet had predicted the future for us! If only we had heeded his warning! I wasn't so sure. It seems to me that Gates's prediction and proposed solution are at least part of what landed us here. I don't mean to suggest that Gates's TED talk is somehow directly responsible for the lack of global preparedness for Covid. But it embodies a certain story about "the future" that TED talks have been telling for the past two decades — one that has contributed to our unending present crisis.

The story goes like this: there are problems in the world that make the future a scary prospect. Fortunately, though, there are solutions to each of these problems, and the solutions have been formulated by extremely smart, tech-adjacent people. For their ideas to become realities, they merely need to be articulated and spread as widely as possible. And the best way to spread ideas is through stories.... In other words, in the TED episteme, the function of a story isn't to transform via metaphor or indirection, but to actually manifest a new world. Stories about the future create the future. Or as Chris Anderson, TED's longtime curator, puts it, "We live in an era where the best way to make a dent on the world... may be simply to stand up and say something." And yet, TED's archive is a graveyard of ideas. It is a seemingly endless index of stories about the future — the future of science, the future of the environment, the future of work, the future of love and sex, the future of what it means to be human — that never materialized. By this measure alone, TED, and its attendant ways of thinking, should have been abandoned.
But the article also notes that TED's philosophy became "a magnet for narcissistic, recognition-seeking characters and their Theranos-like projects." (In 2014 Elizabeth Holmes herself spoke at a medical-themed TED conference.) And since 2009 the TEDx franchise lets licensees use the brand platform to stage independent events — which is how at a 2010 TEDx event, Randy Powell gave his infamous talk about vortex-based mathematics which he said would "create inexhaustible free energy, end all diseases, produce all food, travel anywhere in the universe, build the ultimate supercomputer and artificial intelligence, and make obsolete all existing technology."

Yet these are all just symptoms of a larger problem, the article ultimately argues. "As the most visible and influential public speaking platform of the first two decades of the twenty-first century, it has been deeply implicated in broadcasting and championing the Silicon Valley version of the future. TED is probably best understood as the propaganda arm of an ascendant technocracy.

theodp writes: At the 2022 Winter meeting of the National Governors Association (NGA), Arkansas Governor and NGA Chair ASA Hutchinson called on attendees to rally together to advance K-12 computer science education across the country. The pitch was part of Hutchinson's year-long CS evangelism initiative, which the NGA notes enjoys the support of Amazon, Google, and Microsoft. In video from the event, Hutchinson gives kudos to tech-bankrolled Code.org for pushing the national expansion of K-12 CS, and calls on 35 of his fellow Governors to join their 15 peers who are already members of the Code.org-led advocacy group Govs for CS.

In closing, Hutchinson informs the Governors they'll be asked to sign a compact committing to expanding access to CS education in their states (to be unveiled at NGA's Summer meeting), and plays a short video that challenges the audience with a question: "Will it be American students who learn to code," Hutchinson asks, "or will industry be required to go overseas to find the talent that we need here in the United States of America?"

"Focus on the horse race and the flashy news and you'll miss the real stories," argues Mike Loukides, the content strategy VP at O'Reilly Media. So instead he shares trends observed on O'Reilly's learning platform in the first nine months of 2021: While new technologies may appear on the scene suddenly, the long, slow process of making things that work rarely attracts as much attention. We start with an explosion of fantastic achievements that seem like science fiction — imagine, GPT-3 can write stories! — but that burst of activity is followed by the process of putting that science fiction into production, of turning it into real products that work reliably, consistently, and fairly. AI is making that transition now; we can see it in our data. But what other transitions are in progress...?

Important signals often appear in technologies that have been fairly stable. For example, interest in security, after being steady for a few years, has suddenly jumped up, partly due to some spectacular ransomware attacks. What's important for us isn't the newsworthy attacks but the concomitant surge of interest in security practices — in protecting personal and corporate assets against criminal attackers. That surge is belated but healthy.... Usage of content about ransomware has almost tripled (270% increase). Content about privacy is up 90%; threat modeling is up 58%; identity is up 50%; application security is up 45%; malware is up 34%; and zero trust is up 23%. Safety of the supply chain isn't yet appearing as a security topic, but usage of content about supply chain management has seen a healthy 30% increase....

Another important sign is that usage of content about compliance and governance was significantly up (30% and 35%, respectively). This kind of content is frequently a hard sell to a technical audience, but that may be changing.... This increase points to a growing sense that the technology industry has gotten a regulatory free ride and that free ride is coming to an end. Whether it's stockholders, users, or government agencies who demand accountability, enterprises will be held accountable. Our data shows that they're getting the message.

According to a study by UC Berkeley's School of Information, cybersecurity salaries have crept slightly ahead of programmer salaries in most states, suggesting increased demand for security professionals. And an increase in demand suggests the need for training materials to prepare people to supply that demand. We saw that play out on our platform....

C++ has grown significantly (13%) in the past year, with usage that is roughly twice C's. (Usage of content about C is essentially flat, down 3%.) We know that C++ dominates game programming, but we suspect that it's also coming to dominate embedded systems, which is really just a more formal way to say "internet of things." We also suspect (but don't know) that C++ is becoming more widely used to develop microservices. On the other hand, while C has traditionally been the language of tool developers (all of the Unix and Linux utilities are written in C), that role may have moved on to newer languages like Go and Rust. Go and Rust continue to grow. Usage of content about Go is up 23% since last year, and Rust is up 31%. This growth continues a trend that we noticed last year, when Go was up 16% and Rust was up 94%....

Both Rust and Go are here to stay. Rust reflects significantly new ways of thinking about memory management and concurrency. And in addition to providing a clean and relatively simple model for concurrency, Go represents a turn from languages that have become increasingly complex with every new release.
Other highlights from their report:

• "Quantum computing remains a topic of interest. Units viewed is still small, but year-over-year growth is 39%. That's not bad for a technology that, honestly, hasn't been invented yet...."

• "Whether it's the future of finance or history's biggest Ponzi scheme, use of content about cryptocurrency is up 271%, with content about the cryptocurrencies Bitcoin and Ethereum (ether) up 166% and 185% respectively...."

• "Use of JavaScript content on our platform is surprisingly low — though use of content on TypeScript (a version of JavaScript with optional static typing) is up.... Even with 19% growth, TypeScript has a ways to go before it catches up; TypeScript content usage is roughly a quarter of JavaScript's..."

• "Python, Java, and JavaScript are still the leaders, with Java up 4%, Python down 6%, and JavaScript down 3%...."

• "Finally, look at the units viewed for Linux: it's second only to Kubernetes. While down very slightly in 2021, we don't believe that's significant. Linux has long been the most widely used server operating system, and it's not ceding that top spot soon."

A little-known Chinese technology company that took over a WeChat social media account set up for Australia's Prime Minister Scott Morrison said on Monday it wanted to buy an account with a large fanbase in Australia, and was unaware it was his. From a report: Australian politicians said Morrison's office lost access to the account on the platform, owned by Chinese tech giant Tencent Holdings, several months ago. The politicians claimed the move represented censorship amid growing diplomatic tensions between Canberra and Beijing with a national election to be held in Australia by May. The account, which bore Morrison's photograph and posted information on his policies in Mandarin targeted at Australian voters of Chinese ethnic origin, had 76,000 followers.

The account was renamed 'Australia China New Life' in January by its new Chinese owner, Fuzhou 985 Technology, based in Fujian province, which notified followers the account would instead promote Chinese life in Australia. An employee from Fuzhou 985 Technology, who only gave his surname as Huang, told Reuters by telephone was not aware the account was previously connected to Morrison. He said the transfer of ownership was conducted with a Chinese male national living in Fuzhou, whose identity he declined to disclose. "We thought this account had a large fanbase, so we decided to buy it," said Huang, adding that the company was looking for an account whose target audience was the Chinese community in Australia. He declined to say how much his company had paid to take over the account.

New submitter sperm shares a report from the BBC: The Beijing Winter Olympics app that all Games attendees must use contains security weaknesses that leave users exposed to data breaches, analysts say. The My2022 app will be used by athletes, audience members and media for daily Covid monitoring. The app will also offer voice chats, file transfers and Olympic news.

But cybersecurity group Citizen Lab says the app fails to provide encryption on many of its files. China has dismissed the concerns. Questions about the app come amid a rise in warnings about visitors' tech security ahead of the Games, which begin on 4 February. People attending the Beijing Olympics should bring burner phones and create email accounts for their time in China, cyber security firm Internet 2.0 said on Tuesday. Several countries have also reportedly told athletes to leave their main devices at home. The report also says that it's found a "censorship keywords" list built into the app, and a feature that allows people to flag other "politically sensitive" expressions.

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