Samsung said on Thursday that it has developed a new GDDR6 (graphics double data rate) DRAM with a data transfer rate of 24 gigabits per second (Gbps). From a report: A premium graphics card that packs the chips will support a data processing rate of up to 1.1 terabytes (TB), equivalent to processing 275 movies in Full HD resolution within a second, the South Korean tech giant said. Samsung said the DRAM was comprised of 16Gb chips using its third-generation 10nm process node, which also incorporates extreme ultraviolet (EUV) lithography during their production. The company also applied high-k metal gates, or the use of metals besides silicon dioxide to make the gate hold more charge, on the DRAM. Samsung said this allowed its latest DRAM to operate at a rate over 30% faster than its 18Gbps GGDR6 DRAM predecessor.

15-year-old Ellis Pinsky stole $23.8 million worth of cryptocurrency — and his life was never the same. For example, Rolling Stone reports, in his last year of high school, "Four men wearing ski masks and gloves, armed with knives, rope, brass knuckles, and a fake 9 mm," crept around the back of his home in the suburbs: Two weeks before the break-in, a lawsuit had been filed against him, and news stories had circulated connecting him to the hack. He knew that the thieves wanted this money, the millions and millions of dollars he had stolen. He also knew that he couldn't give it to them. He didn't have it. Not anymore.
The magazine paints the portrait of "an anxious young man in Invisalign braces" who describes the revelation he'd had at the age of 13. "The internet held such secrets. All he had to do was uncover them." As he soon found, there were plenty of people working to uncover them all the time, and willing to share their methods — for a price.... Realizing that a lot of the information social engineers used came from hacked databases, he began teaching himself to program, particularly to do the Structured Query Language injections and cross-site scripting that allowed him to attack companies' database architecture. The terabyte upon terabyte of databases he extracted, traded, and hoarded made him valuable to OGUsers as well as to others, like the Russian hackers he was able to converse with thanks to his fluency with his mother's native language... By the time he was 14, he tells me, "I think it's fair to say I had the capabilities to hack anyone."
The article describes him as "attending high school by day and extracting the source code of major corporations by night.... He was 14 years old and taken with the thrill of possessing a hidden superpower, of spending his nights secretly tapping into an underground world where he was esteemed and even feared. And then, in the morning, being called downstairs to breakfast." He wrote a Python script to comb through social media networks and seek out any mentions of working for a [cellphone] carrier. Then he'd reach out with an offer of compensation for helping him with a task. Every fifth or sixth person — underpaid and often working a short-term contract — would say they were game, as Pinsky tells it. For a couple hundred dollars' worth of bitcoin, they'd be willing to do a SIM swap, no questions asked. Eventually, Pinsky says, he had employees at every major carrier also working for him. Then the stakes got even higher. It was only a matter of time before OG hackers, known to each other as "the Community," realized that if they could use the SIM-swapping method to steal usernames, they could just as easily use it to steal cryptocurrency...
In one massive heist Pinksky stole 10% of all the Trigger altcoins on the market from crypto impresario Michael Terpin. ("As Pinsky's money launderers were converting it, the market was crashing in real time.") Pinsky recruited a crew to launder the money — at least one of which simply kept it — but even with all the conversion fees, he still made off with millions. And then... For a while, he half-expected the FBI to knock on his door at any moment, just like in the movies; but as time passed, he grew less anxious.... He says he moved on to learning different types of programming. He ran a sneaker business that used bots and scripts to snap up limited pairs then flip them... He went to soccer practice. He and his friends had started hanging out with girls on the weekend, driving down to the docks where you could see the glowing lights from the Tappan Zee Bridge.
Until Terpin figured out it was Pinsky who'd robbed him: Pinsky and his legal team preempted his arrest by contacting the U.S. attorney directly and offering his cooperation. In February 2020, he voluntarily returned every last thing he says he got from the Terpin heist: 562 bitcoins, the Patek watch, and the cash he'd stored in the safe under his bed.... When I ask if he has also worked with the FBI to help bring down other hackers, he blinks quickly and then changes the subject.
Pinsky has not been criminally charged — partly because he was a minor, but also because of his cooperation with law enforcement. But filing a civil suit, Terpin wants to be compensated with triple the amount stolen, arguing that the teenager who robbed him was running an organized crime racket and that he should be heavily punished to set an example.

Rolling Stone's article raisees the question: what should happen next?

In a move that will undoubtedly draw severe criticism, movies from Studio Canal that customers have purchased on the PlayStation Store will be completely removed next month. From a report: The legal notice is published on PlayStation's German and Austrian websites where it reads (translated): "As of August 31, 2022, due to our evolving licensing agreements with content providers, you will no longer be able to view your previously purchased Studio Canal content and it will be removed from your video library. We greatly appreciate your continued support."

In other words, customers will lose access to movies such as Apocalypse Now, Django, John Wick, La La Land, Saw and The Hunger Games that they purchased on the PlayStation Store. Not rented, but purchased.

The wildly popular series Squid Game drew criticism for its English subtitles. Just how did those happen? CNET News: Subtitlers contend with unrealistic expectations, tight deadlines and competition from clunky machine translation. Often, their work goes underappreciated, under the radar. Sometimes Uludag would be sent a file to translate at 11 p.m. -- "and they would say we need it by 8 a.m." Without skilled subtitlers, movies such as historic Oscar winner Parasite are lost in translation. Yet the art of subtitling is on the decline, all but doomed in an entertainment industry tempted by cheaper emerging artificial intelligence technologies. Subtitlers have become a dying breed.

And this had been the predicament before the world started watching a little show called Squid Game. In 28 days, Squid Game leapfrogged Bridgerton as Netflix's most popular series ever. It also inadvertently started a global conversation about bad subtitles. While critics lauded the South Korean battle royale-themed drama for its polished production values, gripping story and memorable characters, many accused Netflix of skimping on the quality of Squid Game's English subtitles.

A prime example: Ali, the Pakistani laborer, shares a touching moment with Sang Woo, an embezzler who graduated from Korea's top university. Sang Woo suggests Ali call him hyung, instead of sajang-nim or "Mr. Company President." The term hyung literally translates as "older brother," a term used by a man to address an older man with whom he has formed a closer bond. That's Ali and Sang Woo. Yet, the line "Call me hyung" was translated as "Call me Sang Woo." A rare moment of compassion and humanity, amid all the gloom and gore, was lost. [...]

Yet Netflix, which abandoned its in-house subtitling program Hermes one year after its launch in 2017, is interested in a different area of translation: dubbing. It's not hard to see why. For example, 72% of Netflix's American viewers said they prefer dubs when watching Spanish hit Money Heist, Netflix's third most popular show ever. Unfairly criticized, underfunded and facing a lack of support from the entertainment industry, subtitlers are on the brink. At least the Squid Game controversy illuminated an unsung fact: Good subtitles are an exceptionally difficult art.

Esquire celebrates the 40th anniversary of the movie Blade Runner: Based on Philip K. Dick's 1968 novel Do Androids Dream Of Electric Sheep, Scott's film created a world so rich, so dirty and wet and worn out, so visually stunning, that imitation was an inevitability. Less gym-bro than The Terminator, less wacky than Terry Gilliam's Brazil, and less all-out apocalyptic than Mad Max, Blade Runner arguably defined not just 1980s science fiction, but in the forty years since its initial release, sci-fi films in general. From Ghost In The Shell, to Total Recall and Minority Report and even Black Panther, Blade Runner is owed a debt of gratitude.

Working from a formula he perfected in 1979's Alien, Scott brought his world of grimy industry and neon-lit shadows, rogue androids and put-upon protagonists to California, swapping Alien's body horror for the police procedural. Granted, Deckard isn't Ellen Ripley, but in its portrayal of the battered and bruised detective battling against the system, Blade Runner is a Chinatown of the future. That it was only Scott's third film as director makes it all the more impressive. (As an aside, has Harrison Ford's three film run of The Empire Strikes Back (1980), Raiders Of The Lost Ark (1981), and Blade Runner (1982) ever been beaten?).

Famously, the film was a critical and commercial flop in the U.S. with VHS sales and endless re-edits eventually leading to its cult status. (In 2004, it was even voted as the best science fiction film of all time by a panel of global scientists). Today, it's difficult to picture a sci-fi film that doesn't play homage. Would HBO's Westworld have updated its 1973 film version so successfully and stylishly without Blade Runner paving the way both visually and in terms of its musings on free will? And, decades before Elon Musk looked set to take over the world, Blade Runner's Tyrell Corporation (and indeed, Alien's Weyland-Yutani) was inspiring evil empires from Resident Evil's Umbrella Corporation to RoboCop's Omni Consumer Products and The Terminator's Cyberdyne Systems.
The article argues that Rutger Hauer's replicant character Roy Batty "delivers one of the greatest speeches in cinematic history in his 'Tears in rain' soliloquy."

And it points out that fans of Ridley Scott's prequels to Alien speculate those movies also exist in the same cinematic universe.

According to the Wall Street Journal, Comcast's NBCUniversal subsidiary and Google are the "top contenders" for Netflix's upcoming ad-supported streaming tier. "After many years of resisting ads, Netflix CEO Reed Hastings announced the plan for an ad-supported tier in April," reports Ars Technica. "Netflix's stock price dropped 35 percent the day of that announcement, and Netflix revenue growth has been slowing amid a loss in subscribers." From the report: A deal with NBCUniversal would likely mean that "Comcast's video ad unit, FreeWheel, would supply technology to help serve up ads, while NBCUniversal's ad-sales team would help sell ads in the US and Europe," the report said. The Alphabet-owned Google, of course, has plenty of experience serving ads, including on its own YouTube and YouTube TV video platforms. Netflix already uses Google's ad-buying tools.

A deal with either NBCUniversal or Google would likely be exclusive, the WSJ report said. Comcast/NBCUniversal and Google aren't the only contenders, as "Roku has also had early talks with Netflix about ad partnerships," the report said. The Information reported last week that Netflix executives recently "met with representatives of both Roku and Comcast to discuss arrangements under which those companies would handle either the ad sales or the technical infrastructure for Netflix's forthcoming ad-supported tier of service."

Netflix "is looking to start doing some pre-roll ads, which run before a show starts, in the fourth quarter," The Information report said. Netflix is also negotiating with entertainment companies to put ads into shows that Netflix doesn't create itself. Licensing TV shows and movies for both ad-free and ad-supported streaming will cost Netflix about 20 percent more than for ad-free streaming alone, The Information report said. Variety has confirmed the streamer is "letting go of roughly 300 staffers [...] across multiple business functions in the company, with the bulk of the jobs lost in the U.S." Netflix also laid off 150 employees, and dozens of contractors and part-time workers in May.

"Today we sadly let go of around 300 employees," a Netflix spokesperson told Variety. "While we continue to invest significantly in the business, we made these adjustments so that our costs are growing in line with our slower revenue growth. We are so grateful for everything they have done for Netflix and are working hard to support them through this difficult transition."

"A Google software engineer was suspended after going public with his claims of encountering 'sentient' artificial intelligence on the company's servers," writes Bloomberg, "spurring a debate about how and whether AI can achieve consciousness."

"Researchers say it's an unfortunate distraction from more pressing issues in the industry." Google put him on leave for sharing confidential information and said his concerns had no basis in fact — a view widely held in the AI community. What's more important, researchers say, is addressing issues like whether AI can engender real-world harm and prejudice, whether actual humans are exploited in the training of AI, and how the major technology companies act as gatekeepers of the development of the tech.

Lemoine's stance may also make it easier for tech companies to abdicate responsibility for AI-driven decisions, said Emily Bender, a professor of computational linguistics at the University of Washington. "Lots of effort has been put into this sideshow," she said. "The problem is, the more this technology gets sold as artificial intelligence — let alone something sentient — the more people are willing to go along with AI systems" that can cause real-world harm. Bender pointed to examples in job hiring and grading students, which can carry embedded prejudice depending on what data sets were used to train the AI. If the focus is on the system's apparent sentience, Bender said, it creates a distance from the AI creators' direct responsibility for any flaws or biases in the programs....

"Instead of discussing the harms of these companies," such as sexism, racism and centralization of power created by these AI systems, everyone "spent the whole weekend discussing sentience," Timnit Gebru, formerly co-lead of Google's ethical AI group, said on Twitter. "Derailing mission accomplished."
The Washington Post seems to share their concern. First they report more skepticism about a Google engineer's claim that the company's LaMDA chatbot-building system had achieved sentience. "Both Google and outside experts on AI say that the program does not, and could not possibly, possess anything like the inner life he imagines. We don't need to worry about LaMDA turning into Skynet, the malevolent machine mind from the Terminator movies, anytime soon.

But the Post adds that "there is cause for a different set of worries, now that we live in the world Turing predicted: one in which computer programs are advanced enough that they can seem to people to possess agency of their own, even if they actually don't...." While Google has distanced itself from Lemoine's claims, it and other industry leaders have at other times celebrated their systems' ability to trick people, as Jeremy Kahn pointed out this week in his Fortune newsletter, "Eye on A.I." At a public event in 2018, for instance, the company proudly played recordings of a voice assistant called Duplex, complete with verbal tics like "umm" and "mm-hm," that fooled receptionists into thinking it was a human when it called to book appointments. (After a backlash, Google promised the system would identify itself as automated.)

"The Turing Test's most troubling legacy is an ethical one: The test is fundamentally about deception," Kahn wrote. "And here the test's impact on the field has been very real and disturbing." Kahn reiterated a call, often voiced by AI critics and commentators, to retire the Turing test and move on. Of course, the industry already has, in the sense that it has replaced the Imitation Game with more scientific benchmarks.

But the Lemoine story suggests that perhaps the Turing test could serve a different purpose in an era when machines are increasingly adept at sounding human. Rather than being an aspirational standard, the Turing test should serve as an ethical red flag: Any system capable of passing it carries the danger of deceiving people.

The member countries of the World Trade Organization agreed Friday on a narrow measure aimed at boosting the supplies of Covid-19 vaccines in developing countries, wrapping up a bitter fight over corporate patent rights governing critical medical products during a pandemic. WSJ: The compromise measure on intellectual property rights will make it easier for companies in developing nations such as South Africa to manufacture and export a patented Covid-19 vaccine -- under limited circumstances -- without a consent from the patent holder if they have the approval of their own governments. Meeting for the first time in nearly five years, trade ministers from more than 100 countries also agreed on measures to reduce fisheries subsidies to protect fish stocks and pledged to minimize export restrictions on food items amid shortages triggered by the war in Ukraine. An existing ban on the collection of customs duty on digitally-transmitted products like music and movies was continued, to the relief of U.S. officials who had feared a possible change in the status quo would harm U.S. businesses.

The U.S. government has spent billions of dollars on several rounds of programs to upgrade internet speeds in rural areas over the past decade. Despite those efforts, many residents are still stuck with service that isn't fast enough to do video calls or stream movies -- speeds that most take for granted. From a report: Many communities have been targeted for broadband upgrades at least twice already, but flaws in the programs' design have left residents wanting. The Wall Street Journal analyzed 1.4 million largely rural census blocks that were included in a series of nationwide Federal Communications Commission broadband programs over the past decade. In the latest program, the Rural Digital Opportunity Fund, rolled out in 2020, internet service providers won rights to public funding in about 750,000 census blocks, covering every state except Alaska. The Journal's analysis found that more than half of those census blocks -- areas with a combined population of 5.3 million people -- had been fully or partially covered by at least one previous federal broadband program.

Most U.S. households today have access to internet download speeds of at least 100 megabits per second and upload speeds of 10 Mbps, according to government data. Although the FCC's programs have made progress, some rural Americans still can't get 4 Mbps download and 1 Mbps upload speeds -- the level of service that was the federal standard in 2011. The broadband saga around Heavener, Okla., illustrates some of the problems. Heavener, with a population of around 3,000, is surrounded by cattle pastures and forested hills. Today some buildings on the main streets have good broadband service, but the internet deteriorates outside town, residents say. Much of the area, in Le Flore County, was slated for upgrades under the Rural Digital Opportunity Fund in 2020 -- and some of those areas had already been part of prior programs.

Sony said Tuesday that Nobuyuki Idei, its former chairman and CEO who led the Japanese giant's push into the digital network business, has died of liver failure. He was 84. Kyodo News reports: In addition to enhancing Sony's presence in the digital and communications fields, he also focused on the entertainment business, such as movies, music and game consoles, laying the foundation for its current operations. Idei joined Sony in 1960, becoming president in 1995 and CEO in 1998. He served as both chairman and chief executive from 2000 to 2005. He stepped down as chairman and CEO amid lackluster sales in its appliance business, making headlines for naming Howard Stringer as his successor at a time when it was still rare for a Japanese company to be led by a non-Japanese CEO. Idei also contributed to the advancement of the internet environment in Japan, having been appointed to head the government's IT strategy council in 2000. [...]

Under Idei's tenure as CEO, the conglomerate launched its Vaio-brand personal computers and domestic internet service provider So-net. It also ventured into online-based banking services and the nonlife insurance business. But after its earlier success with sales of bulky CRT televisions, Sony was slow to transition to flat screens and was outpaced amid intense competition with South Korean and other overseas rival manufacturers. Company stocks plunged in 2003 in what was referred to as the "Sony shock," and sluggish growth for much of the following decade led Sony to focus on corporate restructuring initiatives.

Nintendo described the sentencing of a hacker earlier this year as a "unique opportunity" to send a message to all gamers about video game piracy. Axios reports: A newly released transcript of the Feb. 10 sentencing of Gary Bowser provides rare insight, directly from Nintendo, about the company's grievances. Bowser, a Canadian national, pled guilty last year to U.S. government cybercrime charges over his role as a top member of Team Xecuter. The group sold tech that circumvented copyright protections and enabled the Nintendo Switch and other systems to play pirated games. Authorities estimated the piracy cost Nintendo upward of $65 million over nearly a decade and even compelled the company to spend resources releasing a more secure model of the Switch.

"This is a very significant moment for us," Nintendo lawyer Ajay Singh told the court at the time, as he laid out the company's case against piracy and awaited the sentencing. "It's the purchase of video games that sustains Nintendo and the Nintendo ecosystem, and it is the games that make the people smile," Singh said. "It's for that reason that we do all we can to prevent games on Nintendo systems from being stolen." He noted Nintendo's losses from Team Xecuter's piracy and sounded a note of sympathy for smaller non-Nintendo game makers whose works are also pirated. And he wove in a complaint about cheating, which he said Team Xecuter's hacks enabled. Cheating could scare off honest players and upset families: "Parents should not be forced to explain to their children why people cheat and why sometimes games are not fair, just because one person wants an unfair advantage."

At the hearing, U.S. District Judge Robert Lasnik noted that TV and movies glorify hackers as "sticking it to the man," suggesting that "big companies are reaping tremendous profits and it's good for the little guy to have this." "What do you think?" Lasnik asked Nintendo's lawyer at one point. "What else can we do to convince people that there's no glory in this hacking/piracy?" "There would be a large benefit to further education of the public," Singh replied. In brief remarks directly to Lasnik, Bowser said longer prison time wouldn't scare off hackers. "There's so much money to be made from piracy that it's insignificant," he said.

This week saw the premiere of The Orville: New Horizons on Hulu — a third season, now streaming after two seasons on broadcast TV from 2017 to 2019. Seth MacFarlane (the show's creator/star) tells the Hollywood Reporter how that will change the Orville: "The biggest difference for me being on Hulu is that I don't have to tell a story that's exactly 43 minutes long every week because I have to make room for a certain number of commercials.

"That's not how storytelling works — different stories are different lengths, and you start to fall into this cadence where you're shaving scenes down, you're cutting things that don't need to be cut. The best part about being on Hulu is that those moments where you want to linger on an actor's face because it's meaningful and it helps to tell the story? You can do that. You have the time; you can be indulgent in that way."
MacFarlane tells TV Guide the series is now "a dramatic sci-fi show with comedic elements that come about from the character's personalities." And MacFarlane tells ABC News, "I think people can expect a lot more than they think they can." It's not just Covid that's the reason that it's taken so long. It's a pretty massive uptick in scope. We're only doing 10 episodes, as opposed to 12, they're longer episodes. The scope of these episodes is much more film-like. I think people are a little unprepared for what's to come. Disney and Hulu really gave us the resources to do this right, and we've put it all on the screen.
Long-time Slashdot reader Marxist Hacker 42 wrote a journal entry (with some spoilers) about the new season's premiere episode, noting "a very powerful morality tale" that led to a fifth act with "some prime technobabble worthy of the show's Star Trek heritage." (While long-time Slashdot reader antdude calls it "better than the newer Star Trek like Picard," long-time Slashdot reader AmiMoJo calls it "an enjoyable watch, and would have been the highlight of the week if it wasn't for Star Trek: Strange New Worlds overshadowing it."

GameRant argues that The Orville in general "is actually truer to the Star Trek spirit than any of the franchise's contemporary entries."

And the series will also stay true to its Yaphit, reports Yahoo Entertainment: Behind the scenes, The Orville team bid farewell to one longtime crew member during the production of Season 3. Comedian Norm Macdonald has voiced fan favorite character, Lt. Yaphit, since the show's freshman year and completed recording his dialogue prior to his death from leukemia last September.

MacFarlane says that he wasn't aware of Macdonald's illness during their three-season collaboration. "As I finish the episodes, the emotion that I feel more than anything is gratitude that he left us with all this great stuff," he remarks. "I was very moved by the fact that he had continued to record for us and continued to play this part. As sad as it is, I'm happy there's more Norm yet to come through The Orville."

Asked whether Macdonald's passing means that Yaphit's tenure aboard The Orville will also conclude at the end of Season 3, MacFarlane suggests that fans may not have seen the last of the gelatinous lieutenant. "We do have a plan," he teases. "We would not do Yaphit without Norm, but there is a plan for how we are going to handle it if we are lucky enough to do Season 4." (As of now, a fourth season is up in the air as the cast's contracts have expired.)

An anonymous reader quotes a report from TorrentFreak: The ordeal of three people, who edited major movies down to 10 minutes and then uploaded those summaries to YouTube, is not over yet. After being arrested and found guilty in a criminal court last year, they now face action in the civil courts. A total of 13 companies including Toei, Kadokawa, Nikkatsu, and Fuji, say they are entitled to at least $3.9 million in copyright damages. [...] Clear indications of how seriously the anti-piracy groups and media companies are taking this action were on display after the lawsuit was filed last week. A press conference was held in Tokyo with a representative of CODA and three attorneys present to answer questions on the case.

Those present, including CODA director Takero Goto, highlighted that the three defendants committed criminal acts when they uploaded the movie edits and then profited from advertising revenue. The civil action aims to underline those convictions with a strong message that rightsholders will not allow people to free-ride on creators' content without facing significant financial consequences. The overall message is one of deterrence coupled with the reaffirmation of copyright law, Goto said.

"62-year-old Val Kilmer was just 26 when he played Iceman in the 1986 movie Top Gun," remembers long-time Slashdot reader destinyland.

But in 2015 Kilmer lost his voice to throat cancer, remembers Parade: In his 2020 memoir I'm Your Huckleberry, Kilmer joked that he has less of a frog in his throat and more of a "buffalo." He said, "Speaking, once my joy and lifeblood, has become an hourly struggle."

Kilmer has teamed up with Sonantic, a U.K.-based software firm that uses artificial intelligence to copy voices for actors and production studios, to replicate his speech, using old recordings of his voice and existing footage. Kilmer elaborates on the process of finding his voice again through AI in a video posted to YouTube in August 2021. In his new AI-enhanced voice, which does indeed emulate the speech audiences are familiar with, Kilmer says: "People around me struggle to understand me when I'm talking, but despite all that, I still feel I'm the exact same person, still the same creative soul. A soul that dreams ideas and stories constantly.

"But now I can express myself again, I can bring these dreams to you, and show you this part of myself once more. A part that was never truly gone, just hiding away."

Kilmer's health struggles, his childhood tragedies and his ambitious career were recently documented in the acclaimed 2021 feature-length doc Val, now streaming on Amazon Prime Video. Top Gun: Maverick screened at the Cannes Film Festival to rapturous reviews, with thunderous fanfare including an air show. Though reports say audiences gave the action picture (currently sitting at a 97% on Rotten Tomatoes) a five-minute standing ovation, with audible responses throughout the picture, mainly at the groundbreaking stunt work, it's also been reported an audience-favorite scene is the "overwhelming" emotional response to the reunion of Tom Cruise and Kilmer.

Netflix lost 200,000 subscribers last quarter and potentially two million this current period, according to a note to shareholders from last month. Now, new research highlights that the number of long-standing subscribers canceling Netflix rose precipitously in the past few years. 9to5Mac reports: The data provided by the research firm Antenna to The Information shows that people who had been subscribers for more than three years accounted for just 5% of total cancelations at the start of 2022, while it hit 13% in the first quarter of 2022: "Newbie subscribers, meantime, accounted for only 60% of cancellations in the quarter, down from 64% in the fourth quarter. Also in the first quarter, overall cancellations rose to 3.6 million people, compared with around 2.5 million in each of the preceding five quarters. Antenna says it draws its data from a panel of 5 million Americans who anonymously contribute their streaming subscriptions."

While Netflix is losing ground, the streaming market as a whole is gaining more subscribers, and Antenna's data suggest a connection between the price increase and Netflix's subscriber losses: "'Consumers vote with their wallets on a monthly basis, and now there are just more viable candidates on the ballot,' said Brendan Brady, media and entertainment lead at Antenna. Also, since many entertainment companies, like NBCUniversal and Disney, have pulled their shows off Netflix and put them on their own services, Netflix has had to rely more on its originals, which have been hit or miss, he said."

Japanese conglomerate Sony said it is well-positioned to play a leading role in the metaverse, or immersive virtual worlds, which commentators speculate will massively disrupt industries and establish new powerhouses. From a report: "The metaverse is at the same time a social space and live network space where games, music, movies and anime intersect," Chief Executive Kenichiro Yoshida said at a strategy briefing on Wednesday, pointing to the use of free-to-play battle royale title Fortnite from Epic Games as an online social space. Sony's game, music and movie units contributed two-thirds of operating income in the year ended March, underscoring the group's transformation from consumer electronics maker into a metaverse-ready entertainment juggernaut under Yoshida and predecessor Kazuo Hirai. The firm is a gaming gatekeeper with its PlayStation 5 console, however observers point to the risk presented by the growth of cross-platform, cloud-based titles and their potential to reduce the influence of proprietary platforms. Sony has been adjusting its approach, enabling cross-play in Fortnite in 2018.

Disney added 7.9 million new subscribers to its Disney Plus streaming service during the first three months of 2022, the company announced (PDF) in its Q2 earnings report on Wednesday. The Verge reports: That brings the total to around 87.6 million worldwide, excluding the 50.1 million people subscribed to Disney Plus Hotstar internationally. In the US and Canada alone, Disney Plus now has 7.1 million more subscribers than it did a year ago, with 44.4 million. The company also said that the number of subscribers for all of its streaming offerings -- including Hulu and ESPN Plus -- had grown to over 205 million, an increase from the 196.4 million it reported in January.

Disney also reports that it's earning more per Disney Plus subscriber than it had been previously, at least in the US. Where its average monthly revenue per paid subscriber used to be $6.01, it's now sitting at $6.32. Disney says this is thanks to "an increase in retail pricing and a lower mix of wholesale subscribers." Despite this, Disney Plus is actually losing the company money at a greater clip than it was before. Disney says this is thanks to higher costs for production, advertising, and technology. Those costs seem unlikely to go down, and raising prices, like Netflix did, could cut off its subscriber growth. All that put together makes it obvious why Disney is looking at creating an ad-supported tier sooner rather than later.

echo123 writes: Twenty Internet providers, including AT&T, Comcast and Verizon, have agreed to provide high-speed service at a steep discount to low-income consumers, the White House announced Monday, significantly expanding broadband access for millions of Americans. The plan, a feature of the $1 trillion infrastructure package passed by Congress last year, would cost qualifying households no more than $30 per month. The discounts plus existing federal Internet subsidies mean the government will cover the full cost of connectivity if consumers sign on with one of the 20 participating companies. The White House estimates the program will cover 48 million households, or 40 percent of the country.

The 100-megabit-per-second service is fast enough for a family to work from home, complete schoolwork, browse the Internet and stream high-definition movies and TV shows, the White House said. Households can qualify for the subsidies, called the Affordable Connectivity Program, if their income is at or below 200 percent of federal poverty guidelines, a member of the household participates in certain federal anti-poverty initiatives -- including Medicaid, Supplemental Nutrition Assistance Program, federal housing assistance, Pell Grant tuition assistance, or free or reduced-price school meals -- or if the household already qualifies for an Internet provider's low-income service program. Consumers can check whether they qualify for discounted service at getinternet.gov.

Chinese researchers show off a swarm of drones collectively navigating a dense forest they've never encountered. TechCrunch reports: Researchers at Zheijang University in Hangzhou have succeeded, however, with a 10-strong drone swarm smart enough to fly autonomously through a dense, unfamiliar forest, but small and light enough that each one can easily fit in the palm of your hand. It's a big step toward using swarms like this for things like aerial surveying and disaster response.

Based on an off-the-shelf ultra-compact drone design, the team built a trajectory planner for the group that relies entirely on data from the onboard sensors of the swarm, which they process locally and share with each other. The drones can balance or be directed to pursue various goals, such as maintaining a certain distance from obstacles or each other, or minimizing the total flight time between two points, and so on.

The drones can also, worryingly, be given a task like "follow this human." We've all seen enough movies to know this is how it starts ... but of course it could be useful in rescue or combat circumstances as well. A part of their navigation involves mapping the world around them, of course, and the paper includes some very cool-looking 3D representations of the environments the swarm was sent through. Zhou et alThe study is published in the most recent issue of the journal Science Robotics, which you can read here, along with several videos showing off the drones in action.

An anonymous reader writes: Sony struck a major blow against censorship after defying a Chinese government demand to delete the Statue Of Liberty from "Spiderman: No Way Home" ahead of its release. The bombshell rejection was revealed by "multiple sources," per a recent article by Puck. According to the piece, Chinese regulators had asked if the Japanese entertainment giant could "delete the Statue of Liberty from the ending of the film." Sony unsurprisingly declined the demand given the prominence of Lady Liberty in the climax in which the three spidermen swing around the iconic symbol of freedom while battling supervillains, Puck reported. Undaunted, China then inquired if the monument could be "minimized," according to the report. Specifically, they'd wondered "if Sony could cut a few of the more patriotic shots of [Tom] Holland standing atop the crown, or dull the lighting so that Lady Liberty's visage wasn't so front-and-center," per Puck.