Today is Disney+ Day, and, as part of its perks, the company is offering Disney+ subscribers a new AR experience in conjunction with the short film "Remembering," starring and produced by "Captain Marvel" Brie Larson and directed and written by filmmaker Elijah Allan-Blitz. The eight-minute-long movie features a companion augmented reality app that allows users to scan their TV with an iOS device to watch an extension of the movie on the small screen. TechCrunch reports: In "Remembering," Larson plays a writer who forgets an idea she had when her phone rings and interrupts her thoughts. The writer's inner child -- played by the young actress Dusty Peak -- helps her recover her lost idea, which is represented as a flying and talking cluster of light, also voiced by Larson. The inner child lives in "The World of Imagination," a fantastical wonderland full of rainbows, shooting stars and dolphin-shaped clouds. The movie aims to spark a discussion about why it is essential to remember your younger self and all the creativity you once had. In doing so, it explores concepts like the origin of ideas and why adults can sometimes be reluctant to use their imaginations.

In years past, Disney has created a number of AR experiences, but this is the first AR app that connects directly to content on the Disney+ platform, the company told TechCrunch. It's an experiment in seeing if AR can serve to enhance movie storytelling even when viewers are watching in their living rooms. The "Remembering" AR component itself is designed to bring "The World of Imagination" alive to viewers by having them engage with the film using their smartphones. [...] The AR app is only available on iOS devices. There are currently no confirmed plans for the app to become available on Android devices. Viewers aren't required to download the app to watch the film and can choose to have a passive viewing experience instead.

Mike Fahey, longtime senior reporter of Kotaku, has passed away at age 49 after years of health complications. In a post published today, current and former colleagues share their memories of "the heart and soul of Kotaku." Here's an excerpt, written by Kotaku's Editor-In-Chief, Patricia Hernandez: Most people know Mike's humor: the way he would slip into cartoon voices on a whim, how every conversation was like a poke to the ribs that tested your verve. The six-foot-six guy with a thunderous laugh was a magician, though, and his larger-than-life personality was classic misdirection. Behind every joke and every antic was a sensitive man who had lived many lives and seen a lot of shit.

Yes, this was the guy that reviewed toys and snacks for a living. He was also the guy that could make you go "damn" in a blog about Fortnite or Animal Crossing. Mike Fahey wanted to tell you about the dozens of keyboards he owned, to show you that he'd pinpointed the specific symphony of sounds that he heard when he pressed his fingers down on each individual key, curious to see if you could hear it, too. I suspect this was the same drive that made him want to tell you what he dreamed about during a coma. It's no accident that Mike was one of the first writers on the internet to really capture what made MMOs tick. All we have is each other, and Mike knew better than anyone that we often use video games to find connection. Even when he was being absurd and reviewing, say, a frozen dinner, he still wanted to find ways to make people feel less alone. With Fahey, even moments of crushing despair were laced with a hopeful laugh.

It's hard to write this, for a variety of reasons that may be obvious, but one of them is the heartbreak of knowing just how badly Mike wanted to come back and keep sharing his joy with everyone at Kotaku after eight months of being away. Between trips to the hospital, Mike kept telling me that he was sure he would come back soon -- that he needed to, because writing and playing games were one of the things that still brought him joy. But after years of fighting against health issues, some of which left him partially paralyzed in 2018, Mike Fahey has passed away at 49 years old, possibly due to organ failure according to his spouse. It's bewildering to write this, because by the time I started writing for Kotaku on the side while still in college in 2012, Mike had already been here for around six years. That was a decade ago. To say Mike is the heart and soul of Kotaku is an understatement.

For many readers, Fahey is Kotaku. He built this thing that millions of people read every month, as a part of a network that forever redefined what it was like to surf and read the internet. We take the idea of "personalities" as a given on the internet now, but Mike Fahey provided a blueprint for being a human voice in a tech-driven space. The drive to put a person at the forefront of everything is still in many ways Kotaku's north star. Fahey may be gone, but his spirit will forever live on in anything that we do. I said this to Kotaku staffers this weekend, but it bears repeating again: I want to think that somewhere, there's still an Xbox game superglued to a ceiling that will never come down. You can contribute to the Fahey family's fundraising efforts here, and scroll down further to read memories from colleagues current and former. We'll miss you, Mike.

Just months after Samsung announced that it's bringing non-fungible tokens (NFTs) to its TVs, now LG's doing the same. From a report:The company's new NFT marketplace, called LG Art Lab, lets you "buy, sell and enjoy high-quality digital artwork" from your TV. For now, only users in the US with an LG TV that runs webOS 5.0 or later can access the app, which is available to download from the TV's home screen. Through the portal, you can buy and sell digital works made available through LG's NFT drops. The first one of these drops is set to occur on September 22nd and features a set of metallic-looking NFTs from sculptor Barry X Ball. Since I just so happen to own a compatible LG TV, I downloaded and tried out the app for myself... and there's not much going on there yet. The app is pretty empty, and there aren't any NFTs that you can browse through and buy right now.

The Financial Times tells how the head of a Ukrainian cybersecurity company recruited dozens of "high-level Ukrainian hackers" and borrowed a Starlink internet satellite for "the large-scale infiltration of internet-connected security cameras to surveil Russian-occupied territory, and honey-trapping Russian soldiers into revealing their bases." [T]hey hacked thousands of security and traffic cameras in Belarus and parts of Ukraine that Russia had occupied. To filter the information, the team wrote machine-learning code that helped them separate military movements from ordinary traffic, and they funnelled the information to the military via a public portal.

In one example, described to the Financial Times with photographs and locations, they identified a remote Russian base near occupied Melitopol in southern Ukraine. Then, using fake profiles of attractive women on Facebook and Russian social media websites, they tricked soldiers into sending photos that they geolocated, and shared with the Ukrainian military....

A few days later, they watched on TV as the base was blown up by Ukrainian artillery.

Amazon's new $465 million series — a prequel to the Lord of the Rings — drew more than 25 million viewers on just its first day, according to Reuters, "a record debut for a Prime Video series."

The Independent shared reactions from J. R. R. Tolkein fans, including one who said "it looks like they put absolutely all that Amazon money to use for scenes." First up, the praise. Many are agreeing that the show's costly budget, which positions it as one of the most expensive shows of all time, has paid off, with the series boasting impressive visuals.... @marklee3d added: Rings of Power has done a great job of capturing the feel of Tolkien's world. The challenge is creating a compelling story where one didn't exist before. The show's success lies in pulling that off."

Agreeing that the "spirit" of Tokkien has been captured, @suzannahtweets wrote: "I'm far less concerned about little lore details than I am about the spirit. And while I thought that Peter Jackson fundamentally misunderstood the spirit of Tolkien in ALL his movies, so far the spirit of THE RINGS OF POWER feels remarkably authentic to Tolkien...." However, others argued the show felt "goofy" and featured "terrible" dialogue, with some suggesting that "Tolkien himself" would be "ashamed" of the series.
But "by releasing the first two episodes instead of just the more predictable first, Amazon gave The Rings of Power a strong start," argues Cinemablend. Collider's senior TV editor praises the show's "stunning visuals, compelling characters, and magnetic lead," while one podcaster even called the show "a cinematic masterpiece... masterfully orchestrating a mythology that fans have been waiting for."

Deadline reports that "Critics reviews, save a scathing piece in the UK Daily Mail, have generally been positive for The Rings of Power, as measured by aggregators like Rotten Tomatoes or Metacritic.... As of Friday evening, the IMDb rating stood at a respectable 7.1 out of 10." And Variety adds that Amazon had already taken steps to thwart review bombers three weeks ago: Starting around the time of the launch of the distaff baseball dramedy "A League of Their Own," which premiered its full first season on Aug. 12, Amazon Prime Video quietly introduced a new 72-hour delay for all user reviews posted to Prime Video, a representative for the streamer confirmed to Variety. Each critique is then evaluated to determine whether it's genuine or a forgery created by a bot, troll or other breed of digital goblin.

The practice caught notice after the premiere of the first two episodes of "The Lord of the Rings: The Rings of Power"... The series appears to have been review bombed — when trolls flood intentionally negative reviews for a show or film — on other sites like Rotten Tomatoes, where it has an 84% rating from professional critics, but a 37% from user-submitted reviews. "The Rings of Power" has been fending off trolls for months, especially ones who take issue with the decision to cast actors of color as elves, dwarves, harfoots and other folk of Tolkien's fictional Middle-earth. Amazon's new initiative to review its reviews, however, is designed to weed out ones that are posted in bad faith, deadening their impact.... Whether Amazon successfully beat back the tide of internet trolls for "The Rings of Power" will likely be revealed on Sunday.
Reuters reports that future episodes of the series will be released weekly until the October 14 season finale.

"Amazon plans to let the full story unfold in 50 hours over five seasons."

Netflix is moving up the timeline for the debut of its cheaper, ad-supported plan to November -- in order to get out before the Dec. 8 launch of the Disney+ tier with advertising. From a report: In July, Netflix told investors that it was targeting the launch of the ad-supported plan "around the early part of 2023." But now, Netflix's ad-supported is set to go live Nov. 1 in multiple countries, including the U.S., Canada, U.K., France and Germany, according to industry sources who have been briefed on the streamer's plans. That would be a little over a month before Disney+ Basic, priced at $7.99/month, hits the market in the U.S.

Netflix declined to comment. "We are still in the early days of deciding how to launch a lower-priced, ad-supported tier and no decisions have been made," a company rep said. Sources confirmed the new Nov. 1 launch date, which was previously reported by the Wall Street Journal. Netflix and its exclusive ad partner, Microsoft, have requested ad buyers submit initial bids next week, with a "soft $65 CPM" -- the cost per thousand views -- meaning that the company is open to negotiating the ad rates. That's well above industry CPMs of sub-$20. Sources speculate Netflix's request for proposals from ad buyers will function as a Dutch auction, with the company looking to see what the market will bear.

A jeweler. A plastic surgeon. An OnlyFans Model. They and others received a blue check in likely the biggest Instagram verification scheme revealed to date. After ProPublica started asking questions, Meta removed badges from over 300 accounts. From a report: To his more than 150,000 followers on Instagram, Dr. Martin Jugenburg is Real Dr. 6ix, a well-coiffed Toronto plastic surgeon posting images and video of his work sculpting the decolletage, tucking the tummies and lifting the faces of his primarily female clientele.

Jugenburg's physician-influencer tendencies led to a six-month suspension of his Ontario medical license in 2021 after he admitted to filming patient interactions and sharing images of procedures without consent. He apologized for the lapse and is currently facing a class-action lawsuit from female patients who say their privacy was violated. But on Spotify, Apple Music and Deezer, and in roughly a dozen sponsored posts scattered across the web, Jugenburg's career and controversial history was eclipsed by a new identity. On those platforms, he was DJ Dr. 6ix, a house music producer who's celebrated for his "inherent instinctual ability for music composition" and who "assures his followers that his music is absolutely unique." It's an unconvincing persona -- perhaps even less so once his "music" is played. But it was enough to secure what he wanted: a verification badge for his Instagram account.

The coveted blue tick can be difficult to obtain and is supposed to assure that anyone who bears one is who they claim to be. A ProPublica investigation determined that Jugenburg's dubious alter ego was created as part of what appears to be the largest Instagram account verification scheme ever uncovered. With a generous greasing of cash, the operation transformed hundreds of clients into musical artists in an attempt to trick Meta, the owner of Instagram and Facebook, into verifying their accounts and hopefully paving the way to lucrative endorsements and a coveted social status. Since at least 2021, at least hundreds of people -- including jewelers, crypto entrepreneurs, OnlyFans models and reality show TV stars -- were clients of a scheme to get improperly verified as musicians on Instagram, according to the investigation's findings and information from Meta.

Some of the most acclaimed films in animation history are finally available to rent online. GKIDS, the animation specialist distributer, has released the catalog of acclaimed Japanese animation house Studio Ghibli starting Tuesday. From a report: 22 films from the studio -- including Oscar winner "Spirited Away" and nominees such as "Howl's Moving Castle" and "When Marnie Was There" -- will be made available to rent on all major digital platforms, including Apple TV, Amazon VOD, Vudu, Google Play and Microsoft. The films will be be priced at $4.99 per title, and all will be available in HD, with most being offered in the original Japanese language as well as English dubs.

The news marks the first time that Ghibli's films have been made available via digital rental. The catalogue has been one of the pillars of GKIDS' business since the distributer acquired the North American film distribution rights to the studio's films in 2011, followed by the home media rights in 2017 -- previously, the majority of Studio Ghibli films were distributed via the Walt Disney Company. Since 2017, GKIDS has partnered with Fathom Events to host a series of limited run screenings of the studio's films throughout the year. The catalog was made available for digital purchase in 2019, and GKIDS has an exclusive deal to stream the films in the United States on HBO Max, where they have been included since 2020.

As part of Sony's push into mobile gaming, the company has formed a PlayStation Studios Mobile Division that will operate separately from console game development. According to a press release, the new team will create mobile games with "new and existing PlayStation IP." From a report: Sony's move to form a mobile gaming division aligns with the company's overall goal of extending its IP to PC and mobile games, as well as TV series and movies. Earlier this year, Sony announced that it wants half of its games to be on PC and mobile by 2025, with Sony Interactive Entertainment president Jim Ryan stating that it could result in a "significant growth in the number of people who play our games." The company's also looking to expand into live service games -- games like Fortnite, Rocket League, or Destiny 2 that are continually updated to keep players interested -- with its $3.6 billion acquisition of Bungie.

To help fill out its new mobile division, Sony has also acquired Savage Game Studios, whose co-founders previously worked at Zynga, Insomniac, and Wargaming. It doesn't look like the studio launched any games just yet, but it received $4.4 million in funding for a mobile shooter game last year. The press release expands on this a bit, noting that the studio is currently working on "an unannounced new AAA live service action game," but doesn't offer any additional details on what to expect. Hermen Hulst, the head of PlayStation Studios, said the company's "proud" of its "upcoming releases on PC," which should give gamers without a Playstation console a chance to experience games like Uncharted: Legacy of Thieves Collection and Marvel's Spider-Man. "Our mobile gaming efforts will be similarly additive, providing more ways for more people to engage with our content," he said, "and striving to reach new audiences unfamiliar with PlayStation and our games."

United Launch Alliance has been developing a heavy-lift space vehicle since 2014 (with investment from the U.S. military) called the Vulcan Centaur.

So CNN reports that the ashes of the late Star Trek actress Nichelle Nichols "will head to deep space on a Vulcan rocket." Nichols' cremated remains will be aboard the first Celestis Voyager Memorial Spaceflight, which will launch from Cape Canaveral, Florida. Celestis, Inc., is a private company that conducts memorial spaceflights. Among the remains also aboard the flight will be the ashes of "Star Trek" creator Gene Roddenberry; his wife, Majel Barrett-Roddenberry, who played various roles in the show and films; and James Doohan, who played Montgomery "Scotty" Scott in the films and TV series....

The spaceflight will travel beyond NASA's James Webb Space Telescope and into interplanetary deep space. In addition to cremated remains, capsules onboard will also carry complete human genome DNA samples from willing participants.

People can participate in the flight — by having DNA or loved ones' remains in a spaceflight container — for a price starting at $12,500, and reservations close August 31. (Celestis offers other voyages that don't travel as far, but can cost less than $5,000.) Ahead of the flight's liftoff, Celestis will host a three-day event with mission briefings, an astronaut-hosted dinner, launch site tours, an on-site memorial service and launch viewing. All events will be shown via webcast, according to Celestis.
An announcement on the flight's site invites fans of Nichelle Nichols to "share your own story about how she inspired you and it will be sent into deep space aboard the first Celestis Voyager Memorial Spaceflight — the Enterprise Flight, launching later in 2022."

Over the past year, crypto companies like FTX, Coinbase and Crypto.com have shelled out tens of millions of dollars to attract new customers. "Fortune favors the brave," Matt Damon famously said in a Crypto.com TV spot as he tried to induce Americans to open their digital wallets. Now a core metric of how successful they were has been returned, and experts say it's an eye-opening one: not successful at all. From a report: The number of people who invested in crypto has not expanded since last September before the push began, according to a new study led by Pew Research Center. The results, released Tuesday, build off an initial survey in September. Back then, Pew researchers asked 10,371 Americans if they have "ever invested in, traded, or used a cryptocurrency." Some 16 percent said they had. Last month, the nonprofit asked another sample group -- slightly smaller, at 6,034 Americans -- the same question. The number hadn't grown, with the same 16 percent saying they had at some point invested or traded in the alternate currency.

The results suggest that, despite numerous splashy campaigns by crypto interests, the great majority of Americans remain immune to their sales pitches. "It's pretty striking that for all the spectacular commotion around crypto in the last year, the number of people who invest or trade in crypto didn't budge," said Lee Rainie, Pew Research Center's director of internet and technology research, who spearheaded the study. "Attempts to bring in new buyers to the market didn't seem to move the needle at all."

Crop of expensive fantasy adaptations from Amazon and HBO Max served up at subsidised prices. Financial Times: Since 2016, the veteran US television executive John Landgraf has been predicting the arrival of "peak TV" -- the moment when the number of new scripted shows reaches an all-time high. The streaming boom has proved him wrong every time but he gamely made the prediction again this month, telling guests at the Television Critics Association press tour that 2022 would mark "the peak of the peak TV era." Landgraf, chair of Disney's FX network, conceded that he could be wrong this time too. But there is little doubt that this autumn will present audiences with a flood of some of the most expensive television ever produced. On September 2, Amazon Prime will release its adaptation of The Lord of the Rings, with an estimated budget of $465mn for the first season -- almost enough to make Top Gun: Maverick three times over.

HBO Max's House of the Dragon -- the prequel to Game of Thrones -- is reported to have cost $200mn for the season's 10 episodes. At Disney Plus, Star Wars: Andor will lead a large slate of new programmes that include a Pinocchio remake, She Hulk, and a spin-off of the Cars franchise. These shows are being served up to consumers at subsidised prices by streaming platforms making record losses. The only profitable exception is Netflix, but the industry pioneer's market value has plunged almost $200bn over the past year because of slowing subscriber growth. Its share price is languishing at a four-year low. The forthcoming crop of new programming was given the green light during a headier time, when Wall Street cheered as streaming services committed lavish sums to compete. But faith in the streaming business model -- and investor tolerance for profligate spending -- has waned as Netflix's once-blistering subscription growth has gone into reverse.

[...] On top of that, there are growing concerns that inflation will bite into discretionary spending, including on streaming services. "Everyone [in Hollywood] is throwing big dollars after big things," said Niels Juul, who was an executive producer of Martin Scorsese's Netflix film The Irishman. "But [subscribers] are inundated now to the point where they are looking at their monthly bills and saying, 'Something's got to go -- I've got $140 worth of subscriptions here!'" Even so, Tom Harrington at Enders Analysis said consumers were still getting a better deal than the streaming companies themselves. "People get through $100mn of TV in a day and say: 'what's next?' From a consumer point of view that is great. But for a video operator, it's clearly unsustainable."

An anonymous reader shares a report: Silicon Valley startup Sanas has a lofty goal: to make call center workers sound white and American, no matter the country they're from. And that's just the beginning of their grand plan. The voice tech company's website features a photo of a smiling man, cropped so you only see a disembodied, toothy grin. Underneath the anonymous mouth, a demo invites you to "Hear the Magic" of Sanas. As you press play, you hear one side of a simulated conversation; a man with an Indian accent reads a familiarly tortured call center script about a missing package. Click the "With Sanas" slider, and the voice transforms instantly into something slightly robotic, a tad uncanny and unmistakably white. Since its August 2021 launch, Sanas has been showered with funding by investors. Amid a trying time for the tech industry, the "accent translation" company -- founded by three former Stanford students, Maxim Serebryakov, Shawn Zhang and Andres Perez Soderi -- snagged a $32 million Series A funding round in June 2022, which they claim is the largest ever for a speech technology service. One press release boasts that investors who tried the service called it "magical."

Eventually, the company wants to expand beyond call centers by changing accents on consumer video and audio calls; Sanas has even mentioned an interest in film and TV. New voices are in the works, too: Someday, workers' accents may be "translated" into a Southern drawl for a caller in Louisville, or a Midwestern lilt for someone in Cleveland, instead of the more generic Standard American English, colloquially known as white person voice. "We don't want to say that accents are a problem because you have one," Sanas president Marty Sarim told SFGATE. "They're only a problem because they cause bias and they cause misunderstandings." The tacit promise of Sanas seems to be that callers will be more polite -- and more amenable to being helped -- if they think the person on the other end is more like them.

Adani Group said Tuesday it will buy a majority stake in NDTV, a high-profile Indian news house, in an apparent hostile takeover as the billionaire Gautam Adani expands his media ambitions. From a report: AMG Media Networks, Adani's unit, will indirectly purchase a 29.18% stake in New Delhi Television and launch an open offer to buy another 26% stake, the Indian conglomerate said. The open offer is expected to be worth $61.77 million, some 30% below the current market price. Founded three decades ago, NDTV is one of India's most popular news organizations and a rare property that has consistently taken a critical view of the ruling government's efforts. The New Delhi-headquartered business, which operates three TV news channels and maintains a large presence on the web, said Tuesday that neither the firm nor its founders held any conversation, gave consent or input for the majority stake acquisition.

The first fruit of YouTube's new podcast strategy has taken shape with a new "Explore" page "Podcasts." 9to5Google reports: youtube.com/podcasts is now live and is linked to on the existing Explore page alongside: Trending, Music, Movies & Shows, Live, Gaming, News, Sports, Learning, and Fashion & Beauty. It appears to have first gone live in late July, and is slowly becoming more widely available as it's not showing up for all users we checked with today. Available on desktop web and mobile, it's very rudimentary at this point. There are carousels, which can be expanded via "Show all," for "Popular episodes," "Popular podcast playlists," "Recommended," and "Popular podcast creators." The rest of this page links to various categories: Comedy, True Crime, Sports, Music, and TV & Film.

You're just browsing through regular video thumbnails rather than anything more optimized. Meanwhile, tapping one just opens the regular player on Android, and doesn't even default to the "Listening controls" available for YouTube Premium subscribers. You get large buttons and shortcuts to like, save, and quickly adjust playback speed. The podcast experience for end users will presumably get more optimized over time, while it remains to be seen what the UI in YouTube Music is going to be.

The ubiquitous device is becoming a shop window for the firm's services. From a report: As it dreams up more gadgets to sell to more people, however, Apple is employing another strategy in parallel. The company has so far put 1.8bn devices in the pockets and on the desks of some of the world's most affluent consumers. Now it is selling access to those customers to other companies, and persuading those who own its devices to sign up to its own subscription services. As Luca Maestri, Apple's chief financial officer, said on a recent earnings call, the Apple devices in circulation represent "a big engine for our services business." The strategy is picking up speed. Last year services brought in $68bn in revenue, or 19% of Apple's total. That is double the share in 2015. In the latest quarter services' share was even higher, at 24%. Apple doesn't break down where the money comes from, but the biggest chunk is reckoned to be fees from its app store, which amounted to perhaps $25bn last year, according to Sensor Tower, a data provider.

The next-biggest part is probably the payment from Google for the right to be Apple devices' default search engine. This was $10bn in 2020; analysts believe the going rate now is nearer $20bn. Apple's fast-growing advertising business -- mainly selling search ads in its app store -- will bring in nearly $7bn this year, reckons eMarketer, another research firm. Most of the rest comes from a range of subscription services: iCloud storage, Apple Music and Apple Care insurance are probably the biggest, estimates Morgan Stanley, an investment bank. More recent ventures like Apple tv+, Apple Fitness, Apple Arcade and Apple Pay make up the rest. New services keep popping up. Last November Apple launched a subscription product for small companies called Apple Business Essentials, offering tech support, device management and so on. In June it announced a "buy now, pay later" service. The company claims a total of 860m active paid subscriptions, nearly a quarter more than it had a year ago.

"The very first results from the James Webb Space Telescope seem to indicate that massive, luminous galaxies had already formed within the first 250 million years after the Big Bang," reports Sky and Telescope.

"If confirmed, this would seriously challenge current cosmological thinking." Shortly after NASA published Webb's first batch of scientific data, the astronomical preprint server arXiv was flooded with papers claiming the detection of galaxies that are so remote that their light took some 13.5 billion years to reach us. Many of these appear to be more massive than the standard cosmological model that describes the universe's composition and evolution. "It worries me slightly that we find these monsters in the first few images," says cosmologist Richard Ellis (University College London)....

Before the community accepts these claims, the reported redshifts have to be confirmed spectroscopically. Mark McCaughrean, the senior science adviser of the European Space Agency (a major partner on Webb) commented on Twitter: "I'm sure some of them will be [confirmed], but I'm equally sure they won't all be. [...] It does all feel a little like a sugar rush at the moment."

Ellis agrees: "It's one thing to put a paper on arXiv," he says, "but it's quite something else to turn it into a lasting article in a peer-reviewed journal."
Since 1991, science writer Eric Lerner has been arguing that the Big Bang never happened. Now 75 years old, he writes: In the flood of technical astronomical papers published online since July 12, the authors report again and again that the images show surprisingly many galaxies, galaxies that are surprisingly smooth, surprisingly small and surprisingly old. Lots of surprises, and not necessarily pleasant ones. One paper's title begins with the candid exclamation: "Panic!"

Why do the JWST's images inspire panic among cosmologists? And what theory's predictions are they contradicting? The papers don't actually say. The truth that these papers don't report is that the hypothesis that the JWST's images are blatantly and repeatedly contradicting is the Big Bang Hypothesis that the universe began 14 billion years ago in an incredibly hot, dense state and has been expanding ever since. Since that hypothesis has been defended for decades as unquestionable truth by the vast majority of cosmological theorists, the new data is causing these theorists to panic. "Right now I find myself lying awake at three in the morning," says Alison Kirkpatrick, an astronomer at the University of Kansas in Lawrence, "and wondering if everything I've done is wrong...."

Even galaxies with greater luminosity and mass than our own Milky Way galaxy appear in these images to be two to three times smaller than in similar images observed with the Hubble Space Telescope (HST), and the new galaxies have redshifts which are also two to three times greater.This is not at all what is expected with an expanding universe, but it is just exactly what I and my colleague Riccardo Scarpa predicted based on a non-expanding universe, with redshift proportional to distance.... [T]he galaxies that the JWST shows are just the same size as the galaxies near to us, if it is assumed that the universe is not expanding and redshift is proportional to distance.....

Big Bang theorists did expect to see badly mangled galaxies scrambled by many collisions or mergers. What the JWST actually showed was overwhelmingly smooth disks and neat spiral forms, just as we see in today's galaxies. The data in the "Panic!" article showed that smooth spiral galaxies were about "10 times" as numerous as what theory had predicted and that this "would challenge our ideas about mergers being a very common process". In plain language, this data utterly destroys the merger theory....

According to Big Bang theory, the most distant galaxies in the JWST images are seen as they were only 400-500 million years after the origin of the universe. Yet already some of the galaxies have shown stellar populations that are over a billion years old. Since nothing could have originated before the Big Bang, the existence of these galaxies demonstrates that the Big Bang did not occur....

While Big Bang theorists were shocked and panicked by these new results, Riccardo and I (and a few others) were not. In fact, a week before the JWST images were released we published online a paper that detailed accurately what the images would show. We could do this with confidence because more and more data of all kinds has been contradicting the Big Bang hypothesis for years....

Based on the published literature, right now the Big Bang makes 16 wrong predictions and only one right one — the abundance of deuterium, an isotope of hydrogen.
UPDATE: Kirkpatrick says her quote was was taken out of context, in an article from Space.com that dismises Eric Lerner as "a serial denier of the Big Bang since the late 1980s, preferring his personal pseudoscientific alternative."

Young adults in the UK are spending more time scrolling on social media site TikTok than watching broadcast television, according to an Ofcom report on Wednesday that highlights the growing generational divide in media habits. From a report: In its annual survey of consumption trends, the media regulator found that those aged 16 to 24 spent an average of 53 minutes a day viewing traditional broadcast TV, just a third of the level a decade ago. By contrast, people over the age of 65 spent seven times as long in front of channels such as BBC One or ITV, viewing almost six hours' worth of broadcast TV a day -- a figure that has risen since 2011. The faster take-up of streaming services and social media among young people poses an ever greater challenge to broadcasters as they try to cope with an economic slowdown, satisfy their most loyal older viewers and invest to keep pace with fast-changing consumption habits.

The amount of time US audiences spent watching online TV surpassed cable for the first time ever. From a report: Subscribers to services like Netflix and Hulu accounted for 34.8% of all TV consumption in July, the research firm Nielsen said Thursday. That edged out cable TV at 34.4%. Broadcast was a distant 21.6%. Audiences watched an average of 190.9 billion minutes per week of streamed content in July, Nielsen said. That passed the tally for April 2020, when people were stuck at home because of the pandemic. While consumers spent almost 23% more time streaming, cable and broadcast viewing slumped.

Nvidia is upgrading its GeForce Now game streaming service to support 1440p resolution at 120fps in a Chrome or Edge browser. GeForce Now members on the RTX 3080 tier of the service will be able to access the new browser gameplay options today by selecting 1440p on the GeForce Now web version. From a report: Nvidia originally launched its RTX 3080 GeForce Now membership tier last year, offering streams of up to 1440p resolution with 120fps on PCs and Macs or 4K HDR at 60fps on Nvidia's Shield TV. Previously, you had to download the dedicated Mac or Windows apps to access 1440p resolution and 120fps support, as the web version was limited to 1080p at 60fps.