Plex has an audacious plan to become the daily go-to app for everyone's streaming needs: The media center app rolled out new universal search, watchlist and discovery features Tuesday that are designed to help people find and keep track of all of the shows and movies available across a growing universe of streaming services. From a report: "The app dance, going from app to app to find something to watch, just doesn't make any sense," said Plex's senior product and design director, Jason Williams. Instead, Williams hopes that people will just open Plex to browse everything that's new on various streaming services, and then follow deep links to directly launch playback on Netflix, Hulu or anywhere else. "You're going to open up Plex every day," Williams said. "It's going to be your trusted source." Universal search and discovery have long been a holy grail for the streaming industry, but efforts by platform operators to integrate these types of features directly into the smart TV home screen have been held back by industry power struggles. Plex hopes it can avert some of those issues, and is betting on the ingenuity of its power users to help out along the way. In addition to universal search and a universal watchlist across multiple streaming services as well as personal media, Plex is also launching a dedicated discovery section in its app that highlights new titles on Netflix and other services.

Neowin notes growing support for the "very efficient, potent, royalty-free video codec" AV1, including Microsoft's adding of support for hardware acceleration of AV1 on Windows.

But AV1 even turned up in Intel's announcement this week of the Arc A-series, a new line of discrete GPUs, Neowin reports: Intel has been quick to respond and the company has become the first such GPU hardware vendor to have full AV1 support on its newly launched Arc GPUs. While AMD and Nvidia both offer AV1 decoding with their newest GPUs, neither have support for AV1 encoding.

Intel says that hardware encoding of AV1 on its new Arc GPUs is 50 times faster than those based on software-only solutions. It also adds that the efficiency of AV1 encode with Arc is 20% better compared to HEVC. With this feature, Intel hopes to potentially capture at least some of the streaming and video editing market that's based on users who are looking for a more robust AV1 encoding solution compared to CPU-based software approaches.
From Intel's announcement: Intel Arc A-Series GPUs are the first in the industry to offer full AV1 hardware acceleration, including both encode and decode, delivering faster video encode and higher quality streaming while consuming the same internet bandwidth. We've worked with industry partners to ensure that AV1 support is available today in many of the most popular media applications, with broader adoption expected this year. The AV1 codec will be a game changer for the future of video encoding and streaming.

MojoKid writes: Today Intel finally launched its first major foray into discrete GPUs for gamers and creators. Dubbed Intel Arc A-Series and comprised of 5 different chips built on two different Arc Alchemist SoCs, the company announced its entry level Arc 3 Graphics is shipping in market now with laptop OEMs delivering new all-Intel products shortly. The two SoCs set the foundation across three performance tiers, including Arc 3, Arc 5, and Arc 7.

For example, Arc A370M arrives today with 8 Xe cores, 8 ray tracing units, 4GB of GDDR6 memory linked to a 64-bit memory bus, and a 1,550MHz graphics clock. Graphics power is rated at 35-50W. However, Arc A770M, Intel's highest-end mobile GPU will come with 32 Xe cores, 32 ray tracing units, 16GB of GDDR 6 memory over a 256-bit interface and with a 1650MHz graphics clock. Doing the math, Arc A770M could be up to 4X more powerful than Arc 370M. In terms of performance, Intel showcased benchmarks from a laptop outfitted with a Core i7-12700H processor and Arc A370M GPU that can top the 60 FPS threshold at 1080p in many games where integrated graphics could come up far short. Examples included Doom Eternal (63 fps) at high quality settings, and Hitman 3 (62 fps), and Destiny 2 (66 fps) at medium settings. Intel is also showcasing new innovations for content creators as well, with its Deep Link, Hyper Encode and AV1 video compression support offering big gains in video upscaling, encoding and streaming. Finally, Intel Arc Control software will offer unique features like Smooth Sync that blends tearing artifacts when V-Synch is turned off, as well as Creator Studio with background blur, frame tracking and broadcast features for direct game streaming services support.

"It's no longer possible to watch any content starring Keanu Reeves in China," reports PC Magazine, "and searching for his name returns no results from search engines."

The AV Club explains: Earlier this year, about a month after the release of The Matrix Resurrections, Reeves was announced as a performer at the 35th annual Tibet House Benefit Concert. The concert was organized by Tibet House, a nonprofit founded by supporters of the Dalai Lama that Chinese authorities have labeled "a separatist organization advocating for Tibetan independence," according to The Hollywood Reporter....

Now, after his appearance at the show, it's being reported by the Los Angeles Times that the Matrix movies, Speed, Bill & Ted's Excellent Adventure, The Lake House, and more films from the actor's catalog can no longer be streamed on platforms such as Tencent Video, Youku, and Migu Video.... The one Reeves picture that is still up and available to stream in the country is Toy Story 4 — but that's because the film's credits feature the dubbing cast, not the original cast from the American release.
But it's more than that, notes PC Magazine: As Reuters reports, the Chinese authorities have seemingly wiped the actor's existence from servers across the country.... And with the internet being so restricted and controlled there, it's relatively simple for those in power to digitally disappear someone. So far, Tencent and iQiyi have removed at least 19 of the actor's movies from their streaming platforms, and performing a search for either his English name or its Chinese translation will return zero results from search engines, apparently.
The Los Angeles Times supplies some context: The development emerged just after his latest film "The Matrix: Resurrections" became the first blockbuster to hit Chinese theaters in over two months, ending an unusually prolonged drought of censorship approvals on U.S. titles in a year of rising geopolitical tensions and a further cooling of relations with Hollywood.... "It's a curious case that's worth following. We tend to think of the censorship machine in China as this really coordinated monster, but the fact that we're seeing these conflicting signals [between the online and theatrical markets] suggests that some of these measures come from different places," said Alex Yu, a researcher at China Digital Times, a U.S.-based news organization that translates and archives content censored in China.

It's unclear who ordered the deletions, China's regulatory agencies or platforms acting proactively to remove potentially troublesome content, Yu said.... "Why all of a sudden did they decide to take this measure at this exact moment? It's a question we as outsiders might never be able to answer," Yu said. "The system is so opaque that it's pretty much impossible to pinpoint which agency or person is responsible...."

The ban on Reeves' past works bodes poorly for the China prospects of his upcoming projects. These include animation "DC League of Super-Pets," starring Chinese fan favorite Dwayne Johnson, and the pandemic-delayed sequel "John Wick: Chapter 4," which appears to target mainland viewers with its top billing of Donnie Yen, the Hong Kong action star known for his expressions of loyalty to China's ruling Communist Party....

Despite the original trilogy's popularity, "The Matrix: Resurrections" was a flop in China even before it faced nationalist backlash, grossing only $13.6 million and notching just 5.7 out of 10 on the taste-making ratings platform Douban.

YouTube is the latest company to offer free shows TV with ads. The video giant says you'll now be able to stream nearly 4,000 episodes of TV for free, as long as you're also willing to watch ads during the show. From a report: Shows available include Hell's Kitchen, Andromeda, and Heartland, and you'll be able to watch them in the US on the web, mobile devices, and "most connected TVs via the YouTube TV app," YouTube says in a blog post. With the new free TV shows, YouTube is taking on a number of major competitors. One is over-the-air television -- by offering free TV on demand, YouTube is likely hoping that you'll see what's available on its platform instead of channel surfing to see what else might be on. And there are already many options for streaming ad-supported TV for free, including Tubi, Xumo, Plex, Roku, and offerings from Vizio, and Samsung -- just to name a few -- so YouTube is late to the game.

In a formalization of an earlier Twitter-led push to try to exert influence over fast-forming European digital regulations, the social media firm has used its Twitter Spaces platform to host the official kick off of a policy advocacy lobby group that's being branded the Open Internet Alliance (OIA). From a report: Alongside Twitter, video streaming platform Vimeo; Automattic, the company behind WordPress.com, WooCommerce and Tumblr; the Czech and Slovak focused search engine company, Seznam; and Jodel, a Berlin-based (profile-less) social network, are named as founding members. Twitter said the establishment of this formal lobbying alliance has been some two years in the making. Notably Mozilla -- which had joined Twitter, Auttomatic and Vimeo in a earlier call for incoming EU digital regulations to support better user controls to tackle bad speech rather than hone in on content censorship -- is not being named as a founding member so appears to be sitting this one out. At the time of writing it's unclear why Mozilla is missing. But the Alliance is putting out a wider call for other "middle-layer" Internet companies to join the initiative -- so the grouping may grow in size.

Albeit -- very clearly -- big tech need not apply.

Speaking during a Twitter Spaces event today to discuss the formation of the alliance, Sinead McSweeney, Twitter's global policy VP, said the group is making a plea to lawmakers to think about the wider web ecosystem -- rather than see the Internet as "a monolith" comprised of just a handful of tech giants. "Our plea in aid of the open Internet is that [lawmakers] not view the Internet as a monolith, nor indeed view it as fixing the Internet solving all of societies problems," she said, urging policymakers to: "Take a wider focus when they're looking at solutions -- not look at the Internet just through the lens of a handful of companies. And really think about the entire ecosystem -- and get away from this sense 'oh big tech is the problem.' Because -- in actual fact, in their efforts to tackle so called 'big tech -- that is all we may end up with."

"Music was one of the first industries that felt the sonic boom of the internet, starting with song-sharing websites like Napster in the late 1990s and iTunes digital downloads later," writes the New York Times.

They take a quick look at how the music industry "survived an online revolution," arguing that streaming services "saved the music industry from the jaws of the internet," making it financially healthy and giving it a wider reach.

"But all is not entirely well." Even now, the music industry in the United States generates less revenue than at the peak of the CD. There's a raging debate about how long the gravy train from streaming will last. And many musicians and others say that they're not sharing in the spoils from the digital transformation....

First, I'll lay out the case that the music industry is doing awesome. More than 500 million people around the world pay for digital music, mostly in fees for services such as Spotify, Apple Music or Tencent Music, which is based in China. Those services have given the industry something it has never had before: a steady stream of cash every month. The industry also is making money a gazillion ways. When you watch a music video on YouTube, money flows to the people responsible for that song. TikTok pays record companies when videos feature their popular songs....

Revenue for the music industry has been increasing consistently since 2015, but revenue from all sources — including streaming subscriptions, CDs and royalties from elevator music — is still less than it was in 1999. Total industry revenue back then was about $24 billion adjusted for inflation, and revenue in 2021 was $15 billion, according to the Recording Industry Association of America. (Global sales data from a different music trade group show a similar trajectory.) There aren't an infinite number of people who are willing to pay the going rate in many countries of $10 a month to access a whole bunch of songs on their phones via a service like Spotify. That's what worries people who believe the music industry's digital success has peaked.
Finally, the article points out that even the most-popular songs...aren't as popular as songs got in the past. And then it links to a story headlined "Streaming Saved Music. Artists Hate It."

"The big winners are the streaming services and the large record companies. The losers are the 99 percent of artists who aren't at Beyoncé's level of fame. And they're angry about not sharing in the music industry's success."

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").

According to Deadline, Prime Video is turning PlayStation's mythology-themed game franchise God of War into a live-action TV series. From the report: I hear the series adaptation comes from The Expanse creators/executive producers Mark Fergus and Hawk Ostby and The Wheel of Time executive producer/showrunner Rafe Judkins as well as Sony Pictures Television and PlayStation Productions, which collaborate on all TV series based on PlayStation games. This would mark the latest big deal for a TV series based on a popular video game title in a red-hot streaming marketplace for gaming IP. Peacock just landed another SPT/PlayStation property, Twisted Metal, with a series order and Anthony Mackie starring. HBO has coming up the high-profile PlayStation game-based series The Last of Us, starring Pedro Pascal and Bella Ramsey. Netflix has a Resident Evil TV series in the works, while Paramount+ is about to debut Halo.
[...]
The God of War franchise from Sony's Santa Monica Studio spans a total of seven games across four PlayStation consoles. The action game series launched in 2005 on the PlayStation 2, with the first God of War. At the center is ex-Spartan warrior Kratos and his perilous journey to exact revenge on the Ares, the Greek God of War, after killing his loved ones under the deity's influence. After becoming the ruthless God of War himself, Kratos finds himself constantly looking for a chance to change his fate. Following several titles on various PlayStation consoles including the PS3 and the handheld PSP, Santa Monica Studio brought new life to the franchise with the 2018 game on the PlayStation 4. In it, Kratos comes to the Norse wilds where he gets a second chance at fatherhood with his son Atreus. The installment a slew of honors at the 2018 Game Awards, including Game of the Year. An eighth God of War installment, God of War: Ragnorok, is in the works for PlayStation 4 and PlayStation 5 and is set to drop this year.

Meta, formerly Facebook, has said that its grand ambition of building the ultimate "metaverse" won't be possible if there aren't drastic improvements in today's telecoms networks. CNBC reports: Dan Rabinovitsj, VP of connectivity at Meta, told CNBC at the Mobile World Congress tech event Monday that home networks and cellular networks aren't yet ready for the metaverse. "We're working closely with our colleagues to think about what's the next step in terms of innovation," he said, adding that Meta is also working with cellular partners. "If you really look at the pace of innovation in the telecom world, compared to other markets, it's been harder to go faster in this space," Rabinovitsj said. "One of the things that we've tried to change is that trajectory of innovation."

"We need to develop a common language around the performance of networks," Rabinovitsj said. "We're actually big believers in measurement as foundational in this next phase of work." Mark Zuckerberg, Meta's founder and CEO, said in a statement Sunday that "creating a true sense of presence in virtual worlds delivered to smart glasses and VR headsets will require massive advances in connectivity." Zuckerberg said this will need to be "bigger than any of the step changes we've seen before," adding that things like wide-scale immersive video streaming will take entirely new types of networks.

In response, Marc Allera, CEO of the consumer division of U.K. mobile network BT, told CNBC Wednesday that he expects the metaverse to place a strain on today's networks. However, he said the telecoms industry is spending billions on new technology. "When you stop and think about what you're able to do on a smartphone today, compared to 10 years ago, that's as a result of this industry and network operators investing huge amounts of money with no contribution made by content companies on these networks," Allera said ahead of a meeting with representatives from Meta. "I'll try and understand what their role in supporting this ecosystem is other than just asking what we're doing about it," he added.

In 2017, Bell Canada, TVA, Videotron, and Rogers teamed up in a lawsuit against the operator of TVAddons, the largest repository of Kodi add-ons. The legal action proved extremely controversial but now, after many twists and turns, the matter is now over. As part of a consent judgment (PDF), TVAddons' founder [Adam Lackman] has admitted liability and agreed to pay a cool US$19.5 million in damages. TorrentFreak reports: In a letter dated February 18, 2022, the media companies and Lackman told the Federal Court that they had resolved their differences by agreeing to a consent judgment. That was reviewed and issued by Justice Rochester, who laid out the agreed terms in her judgment handed down February 22, 2022. Lackman admits to communicating TV shows owned by the plaintiffs to the public, including by directly or indirectly participating in the "development, hosting, distribution or promotion of Kodi add-ons that provide users with unauthorized access" to the plaintiffs' TV shows, contrary to sections 3(1)(f) and 27(1) of the Copyright Act. The TVAddons founder further admits that he made the TV shows available to the public in a manner that provided access "from a place and at a time individually chosen by them" and induced and authorized users of the infringing add-ons to "initiate acts of infringement of the Plaintiffs' right to communicate the Plaintiffs Programs to the public by telecommunication," again by developing, hosting, distributing or promoting Kodi add-ons.

The Federal Court issued a permanent injunction to restrain Lackman (and anyone acting with him, under his authority, or in association) from communicating the plaintiffs' content to the public in any way, including via the development or distribution of infringing add-ons such as the 'FreeTelly' and 'Indigo' tools. The terms of the injunction are lengthy and comprehensive, leaving no doubt that TVAddons and all related tools and services are now dead, with Lackman unable to do anything remotely similar in the future.

"THIS COURT ORDERS the Defendant Mr. Lackman to pay the Plaintiffs the amount of twenty-five million dollars ($25,000,000) in the form of a lump sum for damages, profits, punitive and exemplary damages, and costs," Justice Rochester writes. The judgment is in Canadian dollars but for reference, that's currently around US$19.5 million. The judgment also authorizes the bailiffs and independent supervising solicitor (with the assistance of computer forensics experts) to transfer the evidence obtained during the search of June 2017 to the media companies. Exactly what data was seized is currently unclear but it is likely to be sensitive, particularly if the trove includes user data and/or information about Kodi add-on developers. Finally, it appears the media companies will also be taking control of "login credentials, accounts, domains, subdomains and servers" in order to bring this years-long battle to a conclusion. Adam Lackman announced his relief on Twitter, noting that "It wasn't the outcome I had hoped for, but an outcome nonetheless."

An anonymous reader shares a report: Chinese fans of U.S. sitcom "Friends" have expressed dismay online after noticing censorship in recently released episodes of the beloved show, including of LGBT issues. Several major Chinese streaming sites, including Tencent, Baidu's IQiyi, Alibaba's Youku, and Bilibili, started showing a version of the first season of the show on Friday, its first re-release in China for several years. But fans soon noticed parts of the long-running show were different to what they had seen before and complained of censorship which included the removal of lesbian, gay, bisexual and trans-related content, as well as mistranslations. In one example, a conversation where a main character, Ross, explained his wife was a lesbian, was deleted. Another scene where another character, Joey, suggested going to a "strip joint" was translated as "go out to play" on the version shown on Tencent Video. As users started to notice the changes, they began discussing and "boycotting" the move. The discussion was a "hot search topic" on Weibo on Sunday. Reuters adds: But in a sign the discussion itself may have caught the attention of censors, searches on Weibo on Sunday for several variations on the hashtag or search term #Friendshasbeencensored produced either zero or limited recent results. The development follows a similar treatment of David Fincher's 1999 cult classic "Fight Club." Fans were shocked to find that a version of the movie that was made available on Tencent Video had a new ending where the authorities win. After much uproar, the original ending for the movie was restored.

Last month streamers in China discovered that Fight Club had arrived on streaming platform Tencent — but with an entirely new ending where local authorities "rapidly figured out the whole plan and arrested all criminals....."

But now there's been another round of changes, according to the Hollywood Reporter. "After widespread online backlash to clumsy censorship of the film's ending, Chinese streaming service Tencent Video backtracked in recent days and restored most of the cuts it had made." Crucially, Fight Club's complete ending is now viewable in full in China...

News of the cuts went viral around the world and sparked much debate and embarrassment on Chinese social media about local censorship practices.... [I]t would appear that the backlash has been deemed more troublesome than the fictional film's ending, as Tencent has now restored 11 of the 12 minutes it originally cut from the 137-minute movie. The minute still missing is mostly comprised of brief nude sex scenes between Brad Pitt's and Helena Bonham Carter's characters.
Insider reports that changing the original ending provoked comments like these on China's Twitter-like platform Weibo:

- "This has become a Chinese-only joke. Even dogs won't want to watch this."

- "This is exactly why, even if you have streaming platform subscriptions, you still have to watch pirated versions."


And it brought massive attention to China's history of changing movies, notes the Wrap since "word quickly spread across the globe, bringing embarrassment to the country," reports the Wrap: Censorship of American films and TV shows at the behest of Chinese officials has become common as Hollywood has made in-roads in the country over the past decade. Last year, an episode of "The Simpsons" in which the titular family visits China was removed from Disney+ in Hong Kong over a joke made in the film about the Tiananmen Square protests in 1989 and the Chinese government's censorship of the event.
Even the South China Morning Post reported that Chuck Palahniuk, the author of the novel that inspired the film, "appeared to mock the move on Twitter. 'Everyone gets a happy ending in China!' he wrote..." Similar changes have been made to other films in China in the past. Nicolas Cage's 2005 crime film Lord of War had its final half-hour cut and replaced with text reading, "Yuri Orlov confessed all the crimes officially charged against him in court and was sentenced to life imprisonment in the end."
And another example from the Hollywood Reporter: After 20th Century Fox's Queen biopic Bohemian Rhapsody won multiple Oscars in the 2018, it was granted a theatrical release in China — but only after all mentions of Freddie Mercury's homosexuality were cut from the film.
But in this case a global popular outcry appears to have been too embarrasing to endure. According to the Hollywood Reporter now we even have an expected ending to the story of how China tried to censor Fight Club.

"Reversals of censorship actions are extremely rare within China's entertainment industry — but cuts to Hollywood movies are not."

"Old songs now represent 70 percent of the U.S. music market, according to the latest numbers from MRC Data, a music-analytics firm." So writes Ted Gioia, author of the Substack music/pop culture newsletter "The Honest Broker". But it gets worse: "The new-music market is actually shrinking. All the growth in the market is coming from old songs. The 200 most popular new tracks now regularly account for less than 5 percent of total streams. That rate was twice as high just three years ago....."

The signs are everywhere — including the fact that viewership for the music industry's Grammy awards plummeted 53% this year to just 8.8 million. "More people pay attention to streams of video games on Twitch (which now gets 30 million daily visitors)."

And even then, "When a new song overcomes these obstacles and actually becomes a hit, the risk of copyright lawsuits is greater than ever before.... Adding to the nightmare, dead musicians are now coming back to life in virtual form — via holograms and 'deepfake' music — making it all the harder for young, living artists to compete in the marketplace."

But in the end the real problem may ultimately be that "nothing is less interesting to music executives than a completely radical new kind of music." Who can blame them for feeling this way? The radio stations will play only songs that fit the dominant formulas, which haven't changed much in decades. The algorithms curating so much of our new music are even worse. Music algorithms are designed to be feedback loops, ensuring that the promoted new songs are virtually identical to your favorite old songs. Anything that genuinely breaks the mold is excluded from consideration almost as a rule. That's actually how the current system has been designed to work.

Even the music genres famous for shaking up the world — rock or jazz or hip-hop — face this same deadening industry mindset. I love jazz, but many of the radio stations focused on that genre play songs that sound almost the same as what they featured 10 or 20 years ago. In many instances, they actually are the same songs.

This state of affairs is not inevitable. A lot of musicians around the world — especially in Los Angeles and London — are conducting a bold dialogue between jazz and other contemporary styles. They are even bringing jazz back as dance music. But the songs they release sound dangerously different from older jazz, and are thus excluded from many radio stations for that same reason. The very boldness with which they embrace the future becomes the reason they get rejected by the gatekeepers. A country record needs to sound a certain way to get played on most country radio stations or playlists, and the sound those DJs and algorithms are looking for dates back to the prior century. And don't even get me started on the classical-music industry, which works hard to avoid showcasing the creativity of the current generation. We are living in an amazing era of classical composition, with one tiny problem: The institutions controlling the genre don't want you to hear it.

The problem isn't a lack of good new music. It's an institutional failure to discover and nurture it.
So while the author acknowledges that "The fear of copyright lawsuits has made many in the industry deathly afraid of listening to unsolicited demo recordings," far deeper than that is the problem that, "The people running the music industry have lost confidence in new music."

Yet if there's any hope, the author argues, it's that people "crave something that sounds fresh and exciting and different.... Songs can go viral nowadays without the entertainment industry even noticing until it has already happened. That will be how this story ends: not with the marginalization of new music, but with something radical emerging from an unexpected place...."

"The CEOs are the last to know. That's what gives me solace.... The decision makers controlling our music institutions have lost the thread. We're lucky that the music is too powerful for them to kill."

The first rule of Fight Club in China? Don't mention the original ending. The second rule of Fight Club in China? Change it so the police win. From a report: China has some of the world's most restrictive censorship rules with authorities only approving a handful of foreign films for release each year -- sometimes with major cuts. Among the latest movies to undergo such treatment is David Fincher's 1999 cult classic "Fight Club" starring Brad Pitt and Edward Norton. Film fans in China noticed over the weekend that a version of the movie newly available on streaming platform Tencent Video was given a makeover that transforms the anarchist, anti-capitalist message that made the film a global hit.

In the closing scenes of the original, Norton's character The Narrator, kills off his imaginary alter ego Tyler Durden -- played by Pitt -- and then watches multiple buildings explode, suggesting his character's plan to bring down modern civilisation is underway. But the new version in China has a very different take. The Narrator still proceeds with killing off Durden, but the exploding building scene is replaced with a black screen and a coda: "The police rapidly figured out the whole plan and arrested all criminals, successfully preventing the bomb from exploding". It then adds that Tyler -- a figment of The Narrator's imagination -- was sent to a "lunatic asylum" for psychological treatment and was later discharged. The new ending in which the state triumphs sparked head scratching and outrage among many Chinese viewers -- many of whom would likely have seen pirated versions of the unadulterated version film.
UPDATE (2/6/2022): After a widespread outcry and coverage around the globe, Fight Club's original ending has been restored for streamers in China.

The Washington Post reports that three of the world's most prominent live-streaming stars "received notifications of copyright infringement after broadcasting TV shows to their millions-strong fanbases on Twitch."

"The days that followed produced copious amounts of Twitch's most common byproduct, online drama, but also focused attention on the murky and legally complicated question of what constitutes fair use of copyright materials such as TV shows and movies...." In 2007 Viacom sued YouTube for copyright infringement. Though the court ultimately ruled in favor of YouTube, the suit paved the way for the "Content ID" system, which automatically identifies copyright content and aggressively polices the platform. While software that can scan Twitch already exists, Twitch has yet to create its own automated system, and it does not appear to be in the process of doing so, according to industry figures with knowledge of Twitch's operations who weren't authorized to speak publicly.

Such an outcome becomes more likely, however, if advertisers start withdrawing from the platform for fear of being associated with risky content, something that's already beginning to happen on Twitch according to Devin Nash, chief marketing officer of content creator-focused talent agency Novo...

The "react content" trend often hinges on broadcasting copyright material, like popular movies or TV shows, a practice which skirts the outer edges of platform rules. Earlier this month, Viacom and the History Channel/A&E (which is owned by Hearst and Disney) issued copyright claims — also known as Digital Millennium Copyright Act (DMCA) takedown requests — to specific streamers.... The DMCA-centric discourse left streamers and viewers on Twitch with ample drama but no clear answer as to whether one of the platform's go-to trends merely faces a few bumps in the road or an asteroid-sized extinction event. "Nothing could happen, or everything could happen," Cassell added. "And it rests on the decisions of a handful of media rights holders...."

Some streamers, such as Piker and Felix "xQc" Lengyel, both of whom started reacting to clips from sites like YouTube long before the current react meta began, argue reaction content should be permitted since Twitch is essentially built on copyright infringement. Streaming a video game is technically a DMCA-able offense. The video game industry, however, has decided to allow the practice because the free publicity and resulting sales tend to outweigh any potential downsides. But television is a different beast, with its economics rooted in broadcast rights rather than individual unit sales....

This awkward and unceasing dance around the topic has been fueled in part by the fact that Twitch is incentivized to maintain its ignorance of copyright infractions taking place on their platform.... But the silence has added stress to streamers whose livelihoods could be impacted by decisions around the current DMCA practices....
The Post also spoke to game/esports/entertainment lawyer David Philip Graham, who believes copyright law itself is due for an overhaul. "Much of our current copyright regime isn't really about authors' rights or promoting the progress of science and useful arts, but about big businesses looking for easier routes to profitability," Graham said.

He proposes shortening copyright term lengths — and also expanding permissions for derivative works.

"Netflix's stock has tumbled 41% from the all-time high it hit just two months ago," reports CNN Business.

"It's gaining subscribers at a painfully slow pace. Competition is heating up. The company's answer to all that: It just raised prices on North American customers." Netflix ended 2021 with 221.8 million subscribers. That's significantly more than others in the streaming marketplace, including Disney, one of its closest competitors. Disney had 118.1 million subscribers as of October, and it grew subscriptions 60% between October 2020 and October 2021. During that same period, Netflix grew just 9%. Disney hasn't yet reported its financial results for the last three months of 2021. But Netflix's growth slowed even further in the fourth quarter to just 8%. (And Disney's growth last quarter spooked Wall Street too....)

The problem with relying exclusively on subscriptions for revenue is: after a while, you run out of people who haven't subscribed. That's bad news for Wall Street investors who are mostly concerned with companies' abilities to grow. Zak Shaikh, vice president of programming at research-based media firm Magid, believes that Netflix's fall is more of "a Wall Street thing" rather than "something that reflects the business is in trouble.... They still added subs, and they still have the same high usage and viewing metrics," he added. However, even Shaikh pointed out that in the long term, "Netflix will have to deal with the fact that you can't keep adding subscribers."

One way the company has tried to offset its slowing growth is by investing in other verticals, such as gaming. Another way is to raise prices, but that could prove difficult as fierce competition ramps up. Although price increases will probably help to offset its sluggish sign ups, they could also lead to more stagnation for Netflix. For some consumers, price increases — even small ones — are a lot to ask considering that so many competitors are at Netflix's gates.
Michael Nathanson, a media analyst at MoffettNathanson, specifically predicted to CNN Business that 2022 will be a year "of concern about growth and competition for Netflix."

Earlier this year TechRepublic argued that while 2021 wasn't the year of the Linux desktop, "there was no denying the continued dominance of Linux in the enterprise space and the very slow (and subtle) growth of Linux on the desktop. And in just about every space (minus the smartphone arena), Linux made some serious gains."

So would 2022 be the year of the Linux desktop? "Probably not."

But developer Tim Wells honestly believes we're getting closer: The idea of the year of the Linux desktop is that there would come a year that the free and open source operating system would reach a stage that the average user could install and use it on their pc without running into problems. Linus Sebastian from Linus Tech Tips recently did an experiment where he installed Linux on his home PC for one month to see if he could use it not only for everyday tasks, but for gaming and also streaming. Ultimately he concluded (in a video just released) that this year will not be the year of the Linux desktop and that while doing everyday stuff was reasonably okay, the state of gaming on Linux (despite Valve's lofty goals) is to put it simply, a shit-show. (That's my word, not his)... The experiment done by Linus seems to show that while some games do indeed run well using [Valve's Windows compatibility layer] Proton, there are just as many that run with issues. Some of those issues can be game breaking. Such as the game running, but its multiplayer functionality not working at all. Some games just plain don't work at all due to dependencies on services such as Easy Anti Cheat...

In his video Linus mentions that the main problem preventing the "year of the Linux desktop" is the fragmentation. By fragmentation, he means the range of available distributions and the fact that each distribution has (potentially) different versions of libraries and drivers and software that makes the behind the scenes operate.... Flatpak and Snap as well as AppImage are making progress towards fixing this fragmentation issue, but those are not yet perfect either. Flatpak works by ensuring that the expected versions of libraries required for that software are installed along side it and independent of the existing library the distro may provide...

Valve have said that the Steamdeck will also use an immutable core operating system for the same reasons.

So while Linus is sure that 2022 isn't yet the year of the Linux desktop and that fragmentation is the biggest problem. I think maybe, just maybe, we're closer to solving those problems and closer perhaps to the year of the Linux desktop that some might realise.

AnandTech: The notebook market is a tough nut to crack with a single solution. People want that mix of high performance at the top, cost effectiveness at the bottom, and throughout there has to be efficiency, utility, and function. On the back of a successful ramp last year, AMD is striking the notebook market hot again in 2022 with the launch of its new Ryzen 6000 Mobile processors. These 'Rembrandt' APUs feature AMD's latest RDNA2 graphics, up to eight Zen3+ cores with enhanced power management features, and it uses TSMC's N6 manufacturing process for performance and efficiency improvements. Yesterday AMD disclosed that they would be launching the new Ryzen 6000 Mobile series today -- updated cores, better graphics, more features, all in a single monolithic package a little over 200 mm2.

There will be 10 new processors, ranging from the traditional portable 15 W and 28 W hardware, up to 35 W and 45 W plus for the high-end gaming machines. AMD is expecting 200+ premium systems in the market with Ryzen Mobile in 2022. At the heart of the design is AMD's Zen 3+ core, which affords an improvement in power management between the cores, but keeps the Zen 3 performance characteristics. The focus here is mainly to improve idle power consumption and power when using accelerators, to help extend the life of ultraportable devices -- AMD is claiming 15-40% lower power between web browsing and video streaming. There is a frequency uplift as well, with the top processors going up to 5.0 GHz. AMD is claiming up to 1.3x single thread performance for the Ryzen 7 6800U.

The top eight US media groups plan to spend at least $115bn on new movies and television shows next year in pursuit of a video streaming business that loses money for most of them. From a report: The huge investment outlays come amid concerns that it will be harder to attract new customers in 2022 after the pandemic-fuelled growth in 2020 and 2021. Yet the alternative is to be left out of the streaming land rush. "There is no turning back," said media analyst Michael Nathanson of MoffettNathanson. "The only way to compete is spending more and more money on premium content." The Financial Times calculated the planned expenditures based on company disclosures and analyst reports. One entertainment executive called them "mind-boggling." Most of the companies -- a list that includes Walt Disney, Comcast, WarnerMedia and Amazon -- are set to rack up losses on their streaming units. Including sports rights, the aggregate spending estimate rises to about $140bn. Disney's investment in streaming content is likely to grow 35-40 per cent in 2022, according to estimates by Morgan Stanley. The company's spending on all new movies and TV shows is expected to reach $23bn, though the number rises to $33bn including sports rights -- up 32 per cent from its total content spending in 2021 and 65 per cent from 2020.