"Faced with a squeeze on profits and dwindling share prices, internet service providers are seeking ways of making additional income," reports CNBC.

One example? "Telecom groups are pushing European regulators to consider implementing a framework where the companies that send traffic along their networks are charged a fee to help fund mammoth upgrades to their infrastructure, something known as the 'sender pays' principle." Their logic is that certain platforms, like Amazon Prime and Netflix, chew through gargantuan amounts of data and should therefore foot part of the bill for adding new capacity to cope with the increased strain. "The simple argument is that telcos want to be duly compensated for providing this access and growth in traffic," media and telecoms analyst Paolo Pescatore, from PP Foresight, told CNBC.

The idea is garnering political support, with France, Italy and Spain among the countries coming out in favor. The European Commission is preparing a consultation examining the issue, which is expected to launch early next year.... Meta, Alphabet, Apple, Amazon, Microsoft and Netflix accounted for more than 56% of all global data traffic in 2021, according to a May report that was commissioned by European Telecommunications Network Operators' Association. An annual contribution to network costs of 20 billion euros ($19.50 billion) from tech giants could boost EU economic output by 72 billion euros, the report added.... U.S. tech giants should "make a fair contribution to the sizable costs they currently impose on European networks," the bosses of 16 telecom operators said in a joint statement last month....

The debate isn't limited to Europe, either. In South Korea, companies have similarly lobbied politicians to force "over-the-top" players like YouTube and Netflix to pay for network access.... Meanwhile, tech giants say they're already investing a ton into internet infrastructure in Europe — 183 billion euros between 2011 to 2021, according to a report from consulting firm Analysys Mason — including submarine cables, content delivery networks and data centers. Netflix offers telcos thousands of cache servers, which store internet content locally to speed up access to data and reduce strain on bandwidth, for free.

An anonymous reader quotes a report from Kotaku: It's very likely you don't give a great deal of thought to where the digital colors you use originally came from. Nor, probably, have you wondered who might "own" a particular color, when you picked it when creating something in Photoshop. But a lot of people are about to give this a huge amount of their attention, as their collection of PSD files gets filled with unwanted black, due to a licensing change between Adobe and Pantone. As of now, widely used Adobe apps like Photoshop, Illustrator, and InDesign will no longer support Pantone-owned colors for free, and those wishing for those colors to appear in their saved files will need to pay for a separate license. And this is real life.

The removal of Pantone's colors from Adobe's software was meant to happen March 31 this year, but that date came and went. It was then due for August 16, then August 31. However, this month, people are noticing the effects, reporting issues with creations using Pantone's spot colors. And the solution? It's an Adobe plug-in to "minimize workflow disruption and to provide the updated libraries to the Adobe Creative Cloud users." Which, of course, costs $15 a month. It's Netflix, but for coloring in!

However, Pantone still states in its out-of-date FAQ that, "This update will have minimal impact on a designer's workflow. Existing Creative Cloud files and documents containing Pantone Color references will keep those color identities and information." Yet today, people are reporting that their Photoshop is informing them, "This file has Pantone colors that have been removed and replaced with black due to changes in Pantone's licensing with Adobe." Others have reported that even attaching a Pantone license within Photoshop isn't fixing the issue, colors still replaced by black, and workarounds sound like a pain. "Graphic Design How To" on YouTube offers a workaround for Adobe users.

"Another tip suggested by Print Week is to back up your Pantone libraries, then re-importing them when your Adobe software updates to remove them, or if it's too late, finding a friend who already did," adds Kotaku. "There's a good chance this'll work, given Pantone's colors are stored as .ACB files, just as the rest of Photoshop's colors."

"Or, you know, you could just copy the metadata values of the Pantone range."

A Redditor says they've managed to get a hold of an old Netflix server for free, and has posted a detailed online look at the once mysterious hardware. The devices were part of Netflix's Open Connect Content Delivery Network (CDN), and can often be found embedded within major ISP networks to ensure your Netflix streams don't suck. From a report: Reddit user PoisonWaffle3 said the ISP he currently works for has been offloading old Netflix servers as they upgrade to more modern equipment. In a Reddit thread titled "So I got a Netflix cache server..." he posted a photo of the server, which is bright Netflix red, and explained how he was curious about what's inside the boxes given how little public information was available.

"All I could find online was overviews, installation/config guides for their proprietary software, etc.," he said. "No specs, no clue what was inside the red box." Dave Temkin, Netflix's former Vice President of Network Systems Infrastructure told Motherboard there's nothing too mysterious about what the servers can do, though they significantly help improve video streaming by shortening overall content transit time. "They're just an Intel FreeBSD box," he said. "We got Linux running on some of the generations of that box as well."

Netflix's Open Connect Content Delivery Network hardware caches popular Netflix content to reduce overall strain across broadband networks. Netflix lets major broadband ISPs embed a CDN server on the ISP network for free; the shorter transit time then helps improve video delivery, of benefit to broadband providers and Netflix alike. It took all of three screws for PoisonWaffle3 to get inside the mysterious red unit, at which point users discovered a "fairly standard" Supermicro board, a single Xeon E5 2650L v2 processor, 64GB of DDR3 memory, and a 10 gigabit ethernet card. They also found 36 7.2TB 7200RPM drives and six 500GB Micron solid state drives, for a grand total of 262 terabytes of storage.

An anonymous reader quotes a report from TechCrunch: Cartridges and discs used to be how you got the latest games, but that's been changing as downloads have become more convenient and reliable. But some people prefer the sure thing: a physical copy, so they can play offline or with a bad connection. To them, Activision says "qq": the Call of Duty: Modern Warfare II disc is basically just a link to a 150-gigabyte download. Now, to be fair, games that size don't fit neatly on even high capacity Blu-ray discs, which for distribution purposes max out at around 50 gigs. Not that we haven't seen multi-disc games before (I never finished Final Fantasy VIII because the final disc was scratched someday, Edea), but clearly Activision decided it wasn't worth the bother in this case. [...] Far from having the full game on it, the disc is almost completely empty. This 72-megabyte app is basically just an authenticator and shell that initiates the enormous download process. I'd be willing to bet that most of those 72 megabytes are 4K video files of logos. There's even a pre-order steelbook bonus (that's a metal case for the disc and anything else it comes with). Players may be disappointed to find that this fancy reinforced packaging protects nothing of value.

Obviously there is great waste entailed in the production of perhaps millions of discs (though the numbers are likely much lower than they used to) for no reason. But waste is endemic in consumerism. The bait and switch of it is the galling thing -- that Activision is taking the worst of both worlds. There's literally no point in even providing a physical version of the software if none of the reasons for doing so are fulfilled by it. It's the equivalent of the next season of Stranger Things coming on a disc that just loads up Netflix and starts streaming. Why bother? It's worth asking whether Activision could have built a version of the game that fit on a disc at all. Considering how proudly they've been advertising the realism of the graphics, probably not. A single 4K texture unit, say for a building front or character model, may be scores of megabytes, and any AAA game will have countless such textures. Meanwhile the audio and video assets also have to fit on there, and they can only be compressed so far before they degrade.

"Auto industry insiders have waxed poetic about the safety benefits of the 'software-defined vehicle' — which also enables revenue-boosting data collection and subscriptions that make it safer to be an auto executive too," writes Wired.

"Less talked about are the consequences of computerized cars at the auto shop." Fixing complex vehicles requires increasingly expert and expensive knowledge, and tools that are in limited supply.... [T]he upshot can be that it takes longer to get your car fixed.

The trend is worsened by an ongoing decline in the number of U.S. auto shops, driven by consolidation and owners taking retirement.... There are now significantly fewer places to get your car fixed in the U.S. than there were just five years ago. One industry publication found that for every active service bay inside U.S. auto shops there were 225 cars and trucks on the road in 2016. Now there are 246 vehicles per bay.

Pandemic supply-chain jams for computer chips and auto parts, and a nationwide labor shortage of car technicians, have worsened the problem. Cars took an average of 2.1 days longer to repair in 2021 than in 2019, according to CCC Intelligent Solutions, which sells software to automotive and insurance agencies, nearly 11 days in all. Industry experts say the problem will only get worse. "In 10 years, I see a lot fewer shops, and I see a lot more people looking for shops," says Rick White, who coaches auto repair shop owners through his company, 180biz. An industry survey taken late last year found 96 percent of shops reporting delays, with an average scheduling backlog of 3.4 weeks, compared to 1.7 weeks in late 2019....

Some brands of vehicle can only be calibrated with specialized and expensive tools.... In all, it can cost hundreds of thousands of dollars to acquire the tools and make the shop adjustments to repair just a few car makes. That's before the cost of training workers to use those tools, with shops paying thousands each year to keep their staff certified to fix specific cars. Investing for the future, then, can set shop owners back by millions.
Wired interviewed the former owner of a collision repair shop. Their assessment? Shop owners are just "fed up... we went from a very simple industry to a very complex industry."

Inside Netflix's movie studio, top executives lobbied Ted Sarandos, the company's co-chief executive, for much of this year to experiment with releasing more Netflix original movies broadly in theaters WSJ is reporting. From the report: They outlined their case in a memo shared in June on the company network. Some argued that Netflix is leaving hundreds of millions in box-office receipts on the table with its current strategy of showing only select movies in a few hundred theaters for at most a few weeks before streaming them, according to people familiar with the matter. Other executives thought showing movies in more theaters would create valuable buzz for the streaming service. Soon after, in an internal meeting, Mr. Sarandos told Netflix studio leaders that he had doubts, and still felt that streaming is the future of entertainment, movies included. Instead, he suggested that studio chief Scott Stuber and other executives meet with their counterparts at Sony Pictures Entertainment to see if they would agree to let Netflix stream Sony's movies just four to six weeks after they came out in theaters, instead of after six to eight months, as spelled out in a partnership the two studios reached last year.

If a new deal could be struck, some executives said, it would help Netflix understand how the company might benefit from streaming a movie shortly after it had been shown on thousands of big screens across the country. The debate inside Netflix over how best to distribute its films -- details of which haven't been previously reported -- is one that is playing out across an entertainment industry that has been rapidly upended by the rise of streaming video. Every major company in Hollywood is facing some version of the same question: What is the best way to release a movie? Is it in a cinema, with stadium seating, popcorn and digital surround sound? Or is it at home, streamed on a flat-screen TV or a laptop? Should movies go to theaters first, then to streaming, or should they be released at the same time? How long should a studio wait between theatrical and streaming release? How many theaters should show a film? Should all movies go to the big screen, or just splashy action thrillers?

Netflix wants to extend its nascent gaming efforts to PCs and TVs, and it's looking to launch its own cloud gaming service to do so, VP of game development Mike Verdu confirmed at TechCrunch Disrupt on Tuesday. Protocol reports: "We're very seriously exploring a cloud gaming offering," Verdu said. "We'll approach this the same way as we did with mobile -- start small, be humble, be thoughtful -- but it is a step we think we should take," Verdu added. "The extension into the cloud is really about reaching the other devices where people experience Netflix."

Verdu didn't share many additional details, but suggested the company was looking to launch more than just casual games on TVs. He declined to say whether Netflix would build its own game controllers like Google has done for its failed Stadia service, but he said the titles wouldn't rely on TV remotes for input. [...] Verdu called Netflix's expansion into gaming a pivotal moment for the company, but admitted that it was a slow and deliberate multiyear effort. However, the company may already be seeing some rewards from those efforts. "We're seeing some encouraging signs of gameplay leading to higher retention," the company wrote in its letter to investors Tuesday. The report notes that Netflix has released a total of 35 games for mobile devices thus far, with an additional 55 games in its pipeline. "Fourteen of those games are being built by Netflix's own studios, Verdu said, adding that the company was going to launch an additional studio in Southern California soon."

Further reading: Netflix Password-Sharing Crackdown Will Roll Out Globally In 'Early 2023'

As part of Netflix's earning results today, which says the company reversed customer losses, Netflix plans to crack down on password sharing beginning in 2023. The Verge reports: After giving users the ability to transfer their profiles to new accounts last week, the streamer says it will start letting subscribers create sub-accounts starting next year in line with its plans to "monetize account sharing" more widely. [...] Earlier this year, Netflix reported losing subscribers for the first time in over 10 years, with the company's subscriber count dipping by another 1.3 million in the US and Canada and 1 million worldwide last quarter. To remedy this, Netflix has also been slowly nudging subscribers away from password sharing. The company conducted tests that prompted users in Chile, Costa Rica, and Peru to pay extra for a sub-account if Netflix detected someone was using the owner's subscription outside of their household.

It also tried out a way for users in Argentina, El Salvador, Guatemala, Honduras, and the Dominican Republic to buy additional "homes" for accounts located outside of the subscriber's primary household. More recently, Netflix widely introduced a Profile Transfer tool that lets users easily transfer their personalized recommendations, viewing history, My List, saved games, and other settings to a new account after testing it in other countries. Last month, a report from Rest of World revealed frustration from users subject to the tests in Latin America. The earnings report (PDF) projects that the company's new ad-supported streaming service, which starts at $6.99 per month and launches in November, will help attract 4.5 million subscribers by year's end. This quarter it added 2.4 million subscribers and grew by 104,000 paid subscribers in the U.S. and Canada over the last three months, up from 73,000 in the same period last year.

"You know you're a nerd when you store DNA in your fridge," says Dina Zielinski, a senior scientist in human genomics at the French National Institute of Health and Medical Research tells the BBC — holding up a tiny vial with a light film at the bottom: But this DNA is special. It does not store the code from a human genome, nor does it come from any animal or virus. Instead, it stores a digital representation of a museum. "That will last easily tens of years, maybe hundreds," says Zielinski.

Research into how we could store digital data inside strands of DNA has exploded over the past decade, in the wake of efforts to sequence the human genome, synthesise DNA and develop gene therapies. Scientists have already encoded films, books and computer operating systems into DNA. Netflix has even used it to store an episode of its 2020 thriller series Biohackers.

The information stored in DNA defines what it is to be human (or any other species for that matter). But many experts argue it offers an incredibly compact, durable and long-lasting form of storage that could replace the many forms of unreliable digital media available, which regularly become defunct and require huge amounts of energy to store. Meanwhile, some researchers are exploring other ways we could store data effectively forever, such as etching information onto incredibly durable glass beads, a modern take on cave drawings.
Even before the issue of the energy required to power (and cool) data centers, Zielinski points out that data stored on hard drives "lasts on average maybe 10 to 20 years, maybe 50 if you're lucky and the conditions are perfect." And yet we've already been able to recover DNA from million-year-old wooly mammoths...

Olgica Milenkovic, a professor of electrical and computer engineering at the University of Illinois at Urbana-Champaign, acknowledges that DNA can be damaged by things like humidity, acids, and radiation — "But if it's kept cold and dry, it's good for hundreds of years." And if it's stored in an ice vault, "it can last forever, pretty much." (And unlike floppy disks — DNA-formatted data will never become obsolete.)

It's not the only option. Peter Kazansky, a professor in optoelectronics at the University of Southampton, has created an optical storage technology that etches nano-structures onto glass disks. But Latchesar Ionkov, a computer scientist working on DNA storage at Los Alamos National Laboratory, believes we're just decades away from being able to store the estimated 33 zettabytes of data that humans will have produced by 2025 in a space the size of a ping-pong ball.

Starting in November, Netflix will roll out its ad-supported tier for $6.99 a month, yet another sign that the onetime disruptive upstart streaming service has slowly become a cable package by another name. From a report: Netflix announced today that its new Basic with Ads tier is slated to launch on November 3rd, 2022, for $6.99 in the US, Australia, Brazil, Canada, France, Germany, Italy, Japan, Korea, Mexico, Spain, and the UK. In exchange for making you watch an average of four to five ads per hour that run anywhere from 15-30 seconds, Basic with Ads will give subscribers access to a large swath of Netflix's programming but not the platform's full catalog. A small selection of television shows and movies will not be available to Basic with Ads subscribers due to licensing restrictions that Netflix says it's currently working on. Additionally, Basic with Ads subscribers will not be able to download content onto their devices, and video quality is capped at 720p / HD.

An anonymous reader quotes a report from TorrentFreak: The Motion Picture Association (MPA) has sent its latest overview of notorious piracy markets to the US Government. The Hollywood group, which also represents Netflix, lists a broad variety of online piracy threats. Aside from traditional pirate sites, it also includes domain registries, hosting providers, advertisers, and apps. [...] The MPA report typically provides a detailed overview of the piracy landscape. This year, the USTR further asked rightsholders to explain how piracy impacts US workers. According to the movie industry group, the effect is significant. "In 2020, there were an estimated 137.2 billion visits to film and TV piracy sites globally, which cost the U.S. economy at least $29.2 billion in lost revenue each year. Specifically, piracy has been estimated to reduce employment in our industry between 230,000 and 560,000 jobs," MPA writes, citing external research. The MPA notes that piracy is a global problem that requires cooperation from the broader Internet ecosystem. Services that see themselves as neutral intermediaries, operating parts of the core Internet infrastructure, should take responsibility. "All stakeholders in the internet ecosystem -- including hosting providers, DNS providers, cloud services, advertising networks, payment processors, social networks, and search engines -- should actively seek to reduce support for notoriously infringing sites," MPA writes.

The industry group views Cloudflare as part of this group and mentions the US company by name in its submission. "Cloudflare's customers include some of the most notorious, longstanding pirate websites in the world, including the massively popular streaming site cuevana3.me and The Pirate Bay," MPA notes, adding that repeated notices of infringement elicited no action on Cloudflare's part. The notorious markets list is limited to non-US operations, so Cloudflare itself isn't one of the MPA's targets. Various other Internet services are, including several third-party intermediaries. The MPA's list of notorious markets calls out domain name registries, including the Russian .RU registry, and the companies that maintain the records for the .CH, .CC, .IO, .ME and .TO domain names. These continue to keep pirate sites on board, despite numerous complaints. The same is true for the payment provider VoguePay, which is reportedly quite popular among IPTV services. In addition, advertisers such as 1XBET and Propeller Ads are called out as well. The latter company rebutted MPA's accusations last year but that didn't prevent it from being highlighted again.

Hosting companies are also cited as intermediaries that could and should do more. Instead, some find themselves appealing to pirate services with products such as "bulletproof" hosting. Squitter.eu and Amaratu are two such examples, the MPA reports. In addition to third-party intermediaries, there is also a category of services that caters to pirates directly. These "piracy as a service" (PaaS) companies offer tools that allow people to start a pirate site with minimal effort. "PaaS encompasses a suite of often off-the-shelf services that make it easy for would-be pirates without any technical knowledge to create, operate, and monetize a fully functioning pirate operation," MPA writes. [...] Actual pirate sites themselves are also mentioned, including the usual suspects The Pirate Bay, RARBG and YTS. In addition to torrent sites, the MPA also lists direct download hubs, streaming portals and linking sites, including Uptobox.com, Fmovies.to and Egy.best. Various dedicated piracy apps get a mention as well, and the MPA further includes a long list of unauthorized IPTV services. The anti-piracy group says that it has identified more than a thousand pirate IPTV platforms, so the list provided to the USTR is certainly not exhaustive. In fact, the MPA says that all companies, sites, and services are part of a broader piracy problem. Those flagged in the MPA's report are just examples of some of the worst offenders, nothing more. A list of all sites and services that are highlighted and categorized in MPA's notorious markets submission (PDF) can be found in the article.

An anonymous reader quotes a report from CNBC: Even as Americans cut back in the face of rising prices and recessionary fears, fewer want to give up their streaming subscriptions, especially when it comes to TV, movies and music services, such as Amazon Prime, Netflix and Spotify. Roughly two-thirds of consumers said they will have to decrease their spending due to inflation; however, only about a quarter plan to cancel such subscriptions in the months ahead, according to a recent report by the National Research Group. Most people said they were more likely to cut back on dining out, groceries and clothing.

Consumers are least likely to cancel Amazon Prime, TV and movie streaming services and home security systems, the report found, even over food and gasoline. Just over half, or 51%, also said subscriptions now make up a "significant" portion of their monthly spending. On average, U.S. consumers estimate they spend $135 a month and 17.8% of their monthly budget on subscriptions, the National Research Group found. The report polled more than 2,500 adults in August.

"Paramount Global executive David Nevins, who has run the premium network Showtime since 2016, is leaving the company at the end of year," reports CNBC. According to the report, it may help give the media conglomerate "more flexibility to potentially merge Showtime into Paramount+." From the report: Along with his departure, Paramount Global is restructuring Showtime in ways that could give the company flexibility to effectively end Showtime as it's existed for decades -- as an independent premium cable network churning out prestige hits such as "Dexter," "Weeds," "Billions," "Homeland" and "Yellowjackets." Paramount Global announced Thursday that it's moving Showtime's network business under the leadership of Chris McCarthy, who runs other linear cable networks such as MTV and Comedy Central, and the streaming service under Tom Ryan, who runs Paramount Streaming.

The moves come as the company is considering the idea of merging Showtime into Paramount+ and using the network's hit programming to fuel Paramount+ subscriptions, according to people familiar with the matter. The company's goal is to have Paramount+ be one of the five largest global streaming services, along with Warner Bros. Discovery's HBO Max, Amazon's Prime Video, Netflix and Disney+, said the people, who asked not to be named because the discussions are private. No decisions about Showtime's future have been made, and no changes are imminent, the people said.

One obstacle to pushing Showtime together with Paramount+ is existing pay TV distributor agreements. The Wall Street Journal reported last month that Paramount has discussed simply shuttering the standalone Showtime network with at least one pay-TV partner. Another idea under consideration by Paramount Global executives is to move Paramount+ originals and movies to Showtime, effectively making Showtime a mirror to Paramount+'s content that doesn't appear on other TV networks, two of the people said. That could assuage pay-TV providers, who could adjust pricing against the merged streaming product. [...] Eliminating Showtime as an independent entity would also come with cost savings from head count reductions, such as Nevins' departure, and technology and marketing duplications.

An anonymous reader quotes a report from TorrentFreak: Over the past decade, rightsholders have asked [Google] to remove six billion links to alleged copyright-infringing content. The majority of these requests were indeed removed or put on a preemptive blacklist. The six billion links were reported by 326,575 copyright holders who identified 4,041,845 separate domain names. These domains also include many false positives, including websites of The White House, the FBI, Disney, Netflix, the New York Times, and even TorrentFreak. Overall, we can say that a relatively small number of rightsholders are responsible for a disproportionate number of takedown requests. The ten most active senders reported nearly 2.5 billion URLs, more than 40% of the total. Similarly, as we previously highlighted, most of the removed URLs belong to a small group of websites. Just 400 domains are responsible for 41% of all links removed by Google over the years.

Google continues to remove more than a million URLs per day but the trend started to change a few years ago. The frequency at which new links were reported started to decline. At the same time, Google started to cooperate more with rightsholders. For example, Google began to accept takedown notices for links that are not indexed by the search engine yet. These links, which are also counted in the six billion figure, are put on a preemptive blocklist. That prevents the links from being added to search results in the future. Google also actively demotes pirate sites in its search results when it receives an unusually high number of takedown requests for a domain. In addition, the search engine chose to voluntarily comply with third-party site-blocking orders by removing entire domain names from its index. These proactive anti-piracy measures have started to improve the relationship between Google and rightsholders. And it wouldn't be a surprise to see this trend continue going forward.

A group of authors, including Neil Gaiman, Naomi Klein, and Cory Doctorow, "are lending their names to an open letter protesting publishers' lawsuit against the Internet Archive Library, characterizing it as one of a number of efforts to curb libraries' lending of ebooks." From the report: A group of publishers sued the Internet Archive in 2020, claiming that its open library violates copyright by producing "mirror image copies of millions of unaltered in-copyright works for which it has no rights" and then distributes them "in their entirety for reading purposes to the public for free, including voluminous numbers of books that are commercially available." They also contend that the archive's scanning undercuts the market for e-books. The Internet Archive says that its lending of the scanned books is akin to a traditional library. In its response to the publishers' lawsuit, it warns of the ramifications of the litigation and claims that publishers "would like to force libraries and their patrons into a world in which books can only be accessed, never owned, and in which availability is subject to the rightsholders' whim."

"Libraries are a fundamental collective good. We, the undersigned authors, are disheartened by the recent attacks against libraries being made in our name by trade associations such as the American Association of Publishers and the Publishers Association: undermining the traditional rights of libraries to own and preserve books, intimidating libraries with lawsuits, and smearing librarians," the letter states. The letter also calls for enshrining "the right of libraries to permanently own and preserve books, and to purchase these permanent copies on reasonable terms, regardless of format," and condemns the characterization of library advocates as "mouthpieces" for big tech. "We fear a future where libraries are reduced to a sort of Netflix or Spotify for books, from which publishers demand exorbitant licensing fees in perpetuity while unaccountable vendors force the spread of disinformation and hate for profit," the letter states.

The American Association of Publishers' general counsel Terrence Hart issued a statement responding to the claim that the lawsuit is an attack on libraries. He said, "That authors and publishers support libraries is not in dispute and most certainly not at issue in the infringement case against the Internet Archive, which is not a library. "On the contrary, the Internet Archive operates an unlicensed digital copying and distribution business that copies millions of literary works without permission and gives them away for free. This activity is unprecedented and outside any reasonable interpretation of the copyright law that grants to authors the decision as to whether, when, through whom, and on what terms to distribute their works to the public." He added, "If the rights holder chooses to permit the copying of print books into e-books, that is a choice they are empowered to make as to their own works. The Internet Archive robs authors and publishers of that choice."

Netflix is forming an in-house game studio in Helsinki, Finland to create "world-class" original games without ads or in-app purchases. Engadget reports: While it's too soon for details of the games themselves, Zynga and EA alumnus Marko Lastikka will serve as director. Helsinki is a good fit as the home to some of the "best game talent" on the planet, according to Netflix. This includes The Walking Dead mobile developer Next Games (which Netflix bought in March). Netflix has purchased multiple developers, including Boss Fight and Oxenfree creator Night School Studio, but hasn't built a developer from scratch until now.

You won't see the first fruits of this internal studio for "years," Netflix says. Still, this and recent acquisitions show how the company's gaming strategy is evolving. Where Netflix initially depended on outsiders' games, including slightly tweaked versions of existing titles, it's increasingly focused on truly unique projects you won't find elsewhere. In theory, more people will subscribe to Netflix with the game library in mind.

Deutsche Telekom, Orange, Telefonica and 13 other European telecoms providers on Monday made their strongest push for Big Tech to share network costs, citing the energy crisis and EU climate change goals. From a report: The call comes as the European Commission prepares to seek feedback from both sides before making a legislative proposal that could force tech companies to help pay for the roll-out of 5G and fibre cables across the 27-country European Union. The sector which invests some 50 billion euros ($48.5 billion) annually in infrastructure, needs more funding and urgently, the chief executives of the companies said in a statement.

"Costs of planning and construction works are increasing. Prices for fibre optic cables, for example, have almost doubled in the first semester 2022. Similarly, the hikes in energy prices and in the prices of other inputs are also hitting the connectivity sector," they said. "Timely action is a must: Europe missed out on many of the opportunities offered by the consumer internet. It must now swiftly build strength for the age of the metaverses," the CEO's said. Europe's telecoms operators argue that U.S. tech firms such as Alphabet's Google, Meta and Netflix account for more than half of internet traffic and should bear some of the cost of upgrading infrastructure. Big Tech has rebuffed such requests, saying they are already investing in equipment and technologies to deliver content more efficiently.

Netflix already lost 1.2 million subscribers in the first two quarters of 2022. While the company hopes to add one million new users with its new ad-supported tier, a survey shows that 1 in 4 Netflix users are planning to cancel their subscriptions this year. From a report: Here's what this could mean to other streaming services, such as Apple TV+. Reviews surveyed 1,000 Americans to gauge their streaming habits in 2022. According to the report, the average American is subscribed to four streaming platforms. Netflix is still the most popular streaming service with nearly 4 out of 5 (77%) Americans currently subscribed to the platform. In addition, 70% say they use Netflix the most, followed by: HBO Max: 9.91%; Disney+: 6.18%; Peacock: 4.25%; Hulu: 3.86%; Apple TV+: 2.70%; Paramount+: 2.70%.

That said, of all the Netflix subscribers, 25% are planning to cancel their subscriptions. Of those who plan to leave the streaming service, two-thirds say increasing costs is one of the reasons. According to the survey, Netflix has the highest average plan cost among the eight more popular streaming services in the US. The other big complaint from Netflix users is two-fold: 1 in 3 respondents said Netflix no longer has the shows they want to watch; 30% said that they use other streaming services more.

Google announced a new Chromecast with HD streaming support today that costs just $30 and has a remote control with it. From a report: The company is launching the Chromecast with Google TV (HD) -- yes, that's the official name -- in 19 countries including the U.S. This comes two years after Google launched a $49 Chromecast with 4K HDR streaming support and the introduction of a remote. The new Chromecast supports 1080p streaming, and more than 10,000 apps that are on the Google TV platform including Netflix, HBO Max, Disney+, and Prime video.

An anonymous reader quotes a report from TechCrunch: Nvidia is gearing up to deliver Drive Thor, its next-generation automotive-grade chip that the company claims will be able to unify a wide range of in-car technology from automated driving features and driver monitoring systems to streaming Netflix in the back for the kiddos. Thor, which goes into production in 2025, is notable not just because it's a step up from Nvidia's Drive Orin chip. It's also taking Drive Atlan's spot in the lineup. Nvidia is scrapping the Drive Atlan system on chip ahead of schedule for Thor, founder and CEO Jensen Huang said Tuesday at the company's GTC event. Ever in a race to develop bigger and badder chips, Nvidia is opting for Thor, which, at 2,000 teraflops of performance, will deliver twice the compute and throughput, according to the company.

"If we look at a car today, advanced driver assistance systems, parking, driver monitoring, camera mirrors, digital instrument cluster and infotainment are all different computers distributed throughout the vehicle," said Nvidia's vice president of automotive, Danny Shapiro, at a press briefing Monday. "In 2025, these functions will no longer be separate computers. Rather, Drive Thor will enable manufacturers to efficiently consolidate these functions into a single system, reducing overall system cost." One chip to rule them all. One chip to help automakers build software-defined autonomous vehicles. One chip to continuously upgrade over-the-air. Further reading: Nvidia Announces Next-Gen RTX 4090 and RTX 4080 GPUs