Google has released (PDF) a new analysis of its AI's environmental impact, showing that it has cut the energy use of AI text queries by a factor of 33 over the past year. Each prompt now consumes about 0.24 watt-hours -- the equivalent of watching nine seconds of TV. An anonymous reader shares an excerpt from an Ars Technica article: "We estimate the median Gemini Apps text prompt uses 0.24 watt-hours of energy, emits 0.03 grams of carbon dioxide equivalent (gCO2e), and consumes 0.26 milliliters (or about five drops) of water," they conclude. To put that in context, they estimate that the energy use is similar to about nine seconds of TV viewing. The bad news is that the volume of requests is undoubtedly very high. The company has chosen to execute an AI operation with every single search request, a compute demand that simply didn't exist a couple of years ago. So, while the individual impact is small, the cumulative cost is likely to be considerable.

The good news? Just a year ago, it would have been far, far worse. Some of this is just down to circumstances. With the boom in solar power in the US and elsewhere, it has gotten easier for Google to arrange for renewable power. As a result, the carbon emissions per unit of energy consumed saw a 1.4x reduction over the past year. But the biggest wins have been on the software side, where different approaches have led to a 33x reduction in energy consumed per prompt.

The Google team describes a number of optimizations the company has made that contribute to this. One is an approach termed Mixture-of-Experts, which involves figuring out how to only activate the portion of an AI model needed to handle specific requests, which can drop computational needs by a factor of 10 to 100. They've developed a number of compact versions of their main model, which also reduce the computational load. Data center management also plays a role, as the company can make sure that any active hardware is fully utilized, while allowing the rest to stay in a low-power state.

The other thing is that Google designs its own custom AI accelerators, and it architects the software that runs on them, allowing it to optimize both sides of the hardware/software divide to operate well with each other. That's especially critical given that activity on the AI accelerators accounts for over half of the total energy use of a query. Google also has lots of experience running efficient data centers that carries over to the experience with AI. The result of all this is that it estimates that the energy consumption of a typical text query has gone down by 33x in the last year alone.

BrianFagioli writes: Google is preparing to bring its television platforms in line with the rest of Android. Starting August 1, 2026, both Google TV and Android TV will require app updates that include native code to provide 64-bit support. The move follows similar requirements for phones and tablets, and it paves the way for upcoming 64-bit TV devices.

Starting September 1st, Russia will require all smartphones and tablets sold in the country to come with MAX, a state-backed messaging app seen as a rival to WhatsApp and Telegram. Critics say the app could be used to track users. Reuters reports: The Russian government said in a statement that MAX, which will be integrated with government services, would be on a list of mandatory pre-installed apps on all "gadgets," including mobile phones and tablets, sold in Russia from September 1. State media says accusations from Kremlin critics that MAX is a spying app are false and that it has fewer permissions to access user data than rivals WhatsApp and Telegram. It will also be mandatory that from September 1, Russia's domestic app store, RuStore, which is pre-installed on all Android devices, will be pre-installed on Apple devices.

A Russian-language TV app called LIME HD TV, which allows people to watch state TV channels for free, will be pre-installed on all smart TVs sold in Russia from January 1, the government added. [...] MAX said this week that 18 million users had downloaded its app, parts of which are still in a testing phase. Russia's interior ministry said on Wednesday that MAX was safer than foreign rivals, but that it had arrested a suspect in the first fraud case using the new messenger.

BrianFagioli shares a report from NERDS.xyz: If you run Plex Media Server, it's time to drop everything and update. The company has quietly patched a security issue that affects recent versions of its software, and users are being told to upgrade as soon as possible. According to an email Plex sent to affected customers, versions 1.41.7.x through 1.42.0.x are vulnerable. The newly released build, 1.42.1.10060 or later, contains the fix. Plex says the flaw was found through its bug bounty program, but sadly, it has not publicly shared details about how severe the issue is or whether it could be exploited remotely.

Rising subscription costs, shrinking content libraries, and regional restrictions are pushing viewers back toward piracy. Once seen as nearly dead, piracy has resurged through illicit streaming platforms as the fractured, ad-laden streaming market struggles to deliver convenience and value. The Guardian reports: According to London-based piracy monitoring and content-protection firm MUSO, unlicensed streaming is the predominant source of TV and film piracy, accounting for 96% in 2023 (PDF). Piracy reached a low in 2020, with 130bn website visits. But by 2024 that number had risen to 216bn (PDF). In Sweden, 25% of people surveyed (PDF) reported pirating in 2024, a trend mostly driven by those aged 15 to 24. Piracy is back, just sailing under a different flag.

"Piracy is not a pricing issue," Gabe Newell, the co-founder of Valve, the company behind the world's largest PC gaming platform, Steam, observed in 2011. "It's a service issue." Today, the crisis in streaming makes this clearer than ever. With titles scattered, prices on the rise, and bitrates throttled depending on your browser, it is little wonder some viewers are raising the jolly roger again. Studios carve out fiefdoms, build walls and levy tolls for those who wish to visit. The result is artificial scarcity in a digital world that promised abundance.

Whether piracy today is rebellion or resignation is almost irrelevant; the sails are hoisted either way. As the streaming landscape fractures into feudal territories, more viewers are turning to the high seas. The Medici understood the value linked to access. [The 2016 historical drama series tells of the rise of the powerful Florentine banking dynasty, and with it, the story of the Renaissance.] A client could travel from Rome to London and still draw on their credit, thanks to a network built on trust and interoperability. If today's studios want to survive the storm, they may need to rediscover that truth.

Samsung has finally launched a TV featuring the company's new Micro RGB backlight technology. From a report: The 115-inch TV is first launching in South Korea for over $32,000, according to SamMobile, but Samsung says it's coming to the US next, followed by a wider global rollout with more size options.

Samsung's Micro RGB technology is being positioned as an upgrade to Mini LED backlights that employ an array of tiny white or blue LEDs behind a TV's LCD panel. Micro RGB backlights instead use an ultra-fine pattern of individually controlled red, green and blue LEDs that are each less than than 100um in size.

The new backlight is powered by Samsung's Micro RGB AI engine, which the company says "analyzes each frame in real time and automatically optimizes color output for a more lifelike and immersive picture." The technology allows for improved color accuracy and better contrast by precisely controlling the intensity of the individual LEDs, and Samsung says it can even boost the color in dull scenes, making them appear more vivid and immersive.

Warner Bros. Discovery is preparing to crack down on HBO Max password sharing by the end of 2025, with "aggressive" enforcement and messaging starting next month. Deadline reports: JB Perrette, head of streaming and gaming at Warner Bros. Discovery said on the company's second-quarter earnings call that messaging to consumers is about to get more "aggressive." The media company looking to close the loopholes by the end of 2025, with the impact starting to appear in its financials by 2026. Several months of testing has enabled WBD to determine "who's a legitimate user who may not be a legitimate user," Perrette said. Once that is determined, he continued, the next step is to "turn on the more aggressive language around what needs to happen" in order to and make sure that "we are putting the net in the right place, so to speak."

Asked about what "inning" the process is in, to use the baseball cliche, Perrette said only the first. By the fourth quarter, he said, the process will be happening "in a much more aggressive fashion." "The message language right now has been a fairly soft, cancel-able message," he said. It will "start to get more fixed and such that people have to take action as opposed to right now, sort of having to be a voluntary process." Once those directives are established, he said, "the real benefit will start probably in the fourth quarter and then kick in in 2026."

Google has quietly admitted defeat in selling advertising for its smart TV platform, returning ad inventory to publishers and accepting a revenue share instead of controlling ad spots directly, according to The Verge. The policy reversal comes as Google spends hundreds of millions of dollars annually on Google TV without breaking even, while Amazon outspends the company on retail incentives that have already pushed Google TV sets out of Costco stores in favor of Fire TV models.

Amazon pays up to $50 per activated television to retailers and manufacturers, The Verge reported. Google TV has grown to 270 million monthly active devices worldwide since unifying Android TV and Chromecast under a single brand in 2020, but many devices operate in overseas markets that generate little revenue or run customized versions controlled by pay-TV operators. YouTube's success in the living room -- generating $9.8 billion in quarterly ad revenue and accounting for 12.5% of all US television viewing -- has reduced internal support for Google TV, with sales teams prioritizing the video platform and some YouTube executives arguing the smart TV budget should be redirected, the report adds.

Jim Acosta, the former CNN chief White House correspondent who now hosts an independent show on YouTube, has interviewed an AI-generated avatar of Parkland shooting victim Joaquin Oliver. The late teen's parents created the avatar to preserve his voice and advocate for gun reform. Oliver's parents "granted Acosta the first 'interview' with the recreated version of their son on what would have been his 25th birthday," notes Variety. "Oliver was one of 17 people killed in the mass shooting at Marjory Stoneman Douglas High School." From the report: Acosta asked AI Oliver about his solution for gun violence, to which the avatar responded: "I believe in a mix of stronger gun control laws, mental health support and community engagement. We need to create safe spaces for conversations and connections, making sure everyone feels seen and heard. It's about building a culture of kindness and understanding." The avatar added, "Though my life was cut short, I want to keep inspiring others to connect and advocate for change." Acosta then asked AI Oliver about his personal life, such as his favorite sport and favorite basketball team. The two discussed the movie "Remember the Titans" and their favorite "Star Wars" moments.

After a five-minute chat with the AI, Acosta then connected with Oliver's father, Manuel Oliver. "I'm kind of speechless as to the technology there," Acosta said. "It was so insightful. I really felt like I was speaking with Joaquin. It's just a beautiful thing." Manuel, who has been an outspoken voice in the push for gun control, said he believed bringing "AI Joaquin to life" would "create more impact." According to Manuel, the avatar is trained on information on the internet as well as things Oliver wrote, said and posted online. He said he wanted to make it clear to viewers that he is under no illusions about reviving his son. "I understand that this is AI. I don't want anyone to think that I am, in some way, trying to bring my son back," he said. "Sadly, I can't, right? I wish I could. However, the technology is out there." [...]

Manuel said he is excited about the future of the project and what it means for his son's legacy. "What's amazing about this is that we've heard from the parents, we've heard from the politicians. Now we're hearing from one of the kids," Acosta said. "That's important. That hasn't happened." Manuel said he plans to have AI Oliver "on stage in the middle of a debate," and that "his knowledge is unlimited." You can watch the full interview on YouTube.

Roku has launched Howdy, a new ad-free streaming service that costs $2.99 a month. The streaming platform says it offers 10,000 hours of content from Lionsgate, Warner Bros. Discovery and FilmRise, as well as its own, exclusive programming known as Roku Originals. CNBC reports: The service is available across the U.S. beginning Tuesday. [...] The new service runs alongside the Roku Channel, which will remain free. Howdy will initially be available on the Roku platform, and will later be rolled out on mobile and other platforms, the company said. "Priced at less than a cup of coffee, Howdy is ad-free and designed to complement, not compete with, premium services," said Roku founder and CEO Anthony Wood in the release.

"Did Craigslist drive the downfall of print classifieds?" That's the question asked in a new article from the nonprofit Poynter Institute for Media Studies: "I've always wondered about that," Newmark said in a Zoom interview July 1. "I think it had an effect." But portraying him and the list as torpedoing an otherwise great business model is way overblown, he still believes. Citing an influential essay by Thomas Baekdal, Newmark contends that the root of newspapers' trouble was the loss of readers. "TV hit hard. ... (And) l'm like the folks on 'CSI,' I follow the evidence. That goes back at least to the '60s."

Bad in itself, the loss also took away newspapers' dominant share of local audiences and ability to charge premium classified ad rates. The slide in circulation looks even worse, Baekdal pointed out, when compared to continued increases in the number of households over the years.

Still, Craigslist came to symbolize the shift. Dozens of other vertical digital sites cropped up, before and after, all offering a deadly competitive pairing of an effective and much cheaper service than newspaper classifieds. Even if Craigslist was just one of many, though, it was arguably Newmark who put a face on the massive disruption... By the early 2000s, newspaper executives had a dawning awareness of the business challenge from Craigslist and similar sites. They took minimal action to meet it...

The biggest response was that three big companies — Knight-Ridder, Tribune and Gannett — bought a copycat of Monster called CareerBuilder... By the time newspapers acted, online classifieds had a full head of steam... By 2010, 70% of the newspaper industry's print classified business was gone. Reliable statistics are no longer kept, but the trend continued over the last 15 years... Newspapers continue to do well only with paid obituaries and legal notices, though the latter is now also under threat by digital startups.
The article cites a 2019 analysis from Peter Zollman, whose AIM Group consultancy has followed the classified business for 25 years. "Craigslist has often been blamed for killing newspapers, but that's a gross canard. It just isn't true." American newspapers stumbled while several well-managed counterparts in places like Scandinavia found ways to prosper, he argued.

An anonymous reader quotes a report from Reuters: Australia said on Wednesday it will add YouTube to sites covered by its world-first ban on social media for teenagers, reversing an earlier decision to exempt the Alphabet-owned video-sharing site and potentially setting up a legal challenge. The decision came after the internet regulator urged the government last month to overturn the YouTube carve-out, citing a survey that found 37% of minors reported harmful content on the site, the worst showing for a social media platform.

"I'm calling time on it," Prime Minister Anthony Albanese said in a statement highlighting that Australian children were being negatively affected by online platforms, and reminding social media of their social responsibility. "I want Australian parents to know that we have their backs." The decision broadens the ban set to take effect in December. YouTube says it is used by nearly three-quarters of Australians aged 13 to 15, and should not be classified as social media because its main activity is hosting videos. "Our position remains clear: YouTube is a video sharing platform with a library of free, high-quality content, increasingly viewed on TV screens. It's not social media," a YouTube spokesperson said by email.

An anonymous reader quotes a report from Variety: Edward Saatchi isn't totally sure people will flock to Showrunner, the new AI-generated TV show service his company is launching publicly this week. But he has a vote of confidence from Amazon, which has invested in Fable, Saatchi's San Francisco-based start-up. The amount of Amazon's funding in Fable isn't being disclosed. The money is going toward building out Showrunner, which Fable has hyped as the "Netflix of AI": a service that lets you type in a few words to create scenes -- or entire episodes -- of a TV show, either from scratch or based on an existing story-world someone else has created.

Fable is launching Showrunner to let users tinker with the animation-focused generative-AI system, following several months in a closed alpha test with 10,000 users. Initially, Showrunner will be free to use but eventually the company plans to charge creators $10-$20 per month for credits allowing them to create hundreds of TV scenes, Saatchi said. Viewing Showrunner-generated content will be free, and anyone can share the AI video on YouTube or other third-party platforms. [...] Fable's Showrunner public launch features two original "shows" -- story worlds with characters users can steer into various narrative arcs. The first is "Exit Valley," described as "a 'Family Guy'-style TV comedy set in 'Sim Francisco' satirizing the AI tech leaders Sam Altman, Elon Musk, et al." The other is "Everything Is Fine," in which a husband and wife, going to Ikea, have a huge fight -- whereupon they're transported to a world where they're separated and have to find each other. [...]

Showrunner is powered by Fable's proprietary AI model, SHOW-2. Last year, the company published a research paper on how it built the SHOW-1 model. As part of that, it released nine AI-generated episodes based on "South Park." The episodes, made without the permission of the "South Park" creators, received more than 80 million views. (Saatchi said he was in touch with the "South Park" team, who were reassured the IP wasn't being deployed commercially.) [...] Out of the gate, Showrunner is focused on animated content because it requires much less processing power than realistic-looking live-action video scenes. Saatchi said Fable wants to stay out of the "knife fight" among big AI companies like OpenAI, Google and Meta that are racing to create photorealistic content. "If you're competing with Google, are you going to win?" Saatchi said. "Our goal is to have the most creative models," he said.

YouTube is rolling out age-estimation technology in the U.S. to identify teen users in order to provide a more age-appropriate experience. TechCrunch reports: When YouTube identifies a user as a teen, it introduces new protections and experiences, which include disabling personalized advertising, safeguards that limit repetitive viewing of certain types of content, and enabling digital well-being tools such as screen time and bedtime reminders, among others. These protections already exist on YouTube, but have only been applied to those who verified themselves as teens, not those who may have withheld their real age. [...]

If the new system incorrectly identifies a user as under 18 when they are not, YouTube says the user will be given the option to verify their age with a credit card, government ID, or selfie. Only users who have been directly verified through this method or whose age has been inferred to be over 18 will be able to view the age-restricted content on the platform. The machine learning-powered technology will begin to roll out over the next few weeks to a small set of U.S. users and will then be monitored before rolling out more widely, the company says. [...]

YouTube isn't sharing specifics about the signals it's using to infer a user's age, but notes that it will look at some data like the YouTube activity and the longevity of a user's account to make a determination if the user is under 18. The new system will apply only to signed-in users, as signed-out users already cannot access age-restricted content, and will be available across platforms, including web, mobile, and connected TV.

Marvel's Fantastic Four: First Steps "raked in about $57 million at the domestic box office for its opening day, according to multiple outlets," reports Forbes.

That haul makes it "the year's second-largest opening day so far and a win for Marvel and Disney about a year after they announced a reduction in film and TV show quantity to focus on quality." The roughly $57 million "Fantastic Four: First Steps" generated at the domestic box office Friday fell narrowly short of the opening day for "A Minecraft Movie" ($57.11 million) and just topped opening day for DC Comics rival "Superman" ($56.1 million), according to Variety. The film has netted about $106 million globally after securing $49.2 million overseas, setting itself up for an opening weekend of around $125 million, the same figure achieved by "Superman" earlier this month.

Fantastic Four: First Steps is receiving praise from critics and fans alike, boasting an 88% on Rotten Tomatoes and a 7.6/10 on IMDb... With its opening weekend alone, "Fantastic Four: First Steps" out-earned the entire domestic run of "Fantastic Four" (2015), an adaptation of the heroes that flopped hard at the domestic box office ($56.1 million) and received poor ratings...

Marvel's next movie is slated to release almost a full year from now, with Spider-Man: Brand New Day hitting theaters next summer before Avengers: Doomsday in December.

At this weekend's Comic-Con, "Excitement has been high over the sneak peeks at Tron: Ares and Predator: Badlands," reports CNET. (Nine Inch Nails has even recorded a new song for Tron: Ares .)

A few highlights from CNET's coverage:

• The Coyote vs. Acme movie will hit theaters next year "after being rescued from the pile of scrapped ashes left by Warner Bros. Discovery," with footage screened during a Comic-Con panel.

• The first episode of Alien: Earth was screened before its premiere August 12th on FX.

• A panel reunited creators of the animated Avatar: The Last Airbender for its 20th anniversary — and discussed the upcoming sequel series Avatar: Seven Havens.

• A trailer dropped for the new Star Trek: Starfleet Academy series on Paramount+ ("Star Trek Goes Full Gen Z..." quips one headline.)

To capture some of the ambience, the Guardian has a collection of cosplayer photos. CNET notes there's even booths for Lego and Hot Wheels (which released toys commemorating the 40th anniversary of Back to the Future and the 50th anniversary of Jaws).

But while many buildings are "wrapped" with slick advertisements, SFGate notes the ads are technically illegal, "with penalties for each infraction running up to $1,000 per day," (according to the San Diego Union-Tribune). "Last year's total ended up at $22,500."

The Union-Tribune notes that "The fines are small enough that advertisers clearly think it is worth it, with about 30 buildings in the process of being wrapped Monday morning."

An Argentine captured naked in his yard by a Google Street View camera has been awarded compensation by a court after his bare behind was splashed over the internet for all to see. From a report: The policeman had sought payment from the internet giant for harm to his dignity, arguing he was behind a 6 1/2-foot wall when a Google camera captured him in the buff, from behind, in small-town Argentina in 2017. His house number and street name were also laid bare, broadcast on Argentine TV covering the story, and shared widely on social media.

The man claimed the invasion exposed him to ridicule at work and among his neighbors. Another court last year dismissed the man's claim for damages, ruling he only had himself to blame for "walking around in inappropriate conditions in the garden of his home." Google, for its part, claimed the perimeter wall was not high enough.

Marvel Studios president Kevin Feige "isn't interested in your theories of superhero fatigue, which he doesn't buy as real," writes The Hollywood Reporter. Feige points to the $400 million worldwide box office for Superman (which another article notes in only its second weekend "has already passed up the entire lifetime run of Marvel's Thunderbolts*.")

So how is Marvel moving forward? Yes, Feige knows Marvel made too many movies and shows (and the other things they did wrong). From the first Iron Man in 2008 through Avengers: Endgame in 2019, Marvel produced around 50 hours of screen storytelling. In the six years since Endgame, the number jumps to an astounding 102 hours of movies and television. 127 hours if you include animation. "That's too much," Feige said.

He characterized the time period after Endgame as an era of experimentation, evolution and, unfortunately, expansion. And while he's proud of the experimentation — he points to WandaVision and Loki as some of the best stories they've made — he admits "It's the expansion that is certainly what devalued" that output. Being high on success also may have pushed them to readily agree to try to deliver more programming at a time when Disney and the rest of Hollywood were engaged in the streaming wars. "It was a big company push... [T]here was a mandate that we were put in the middle of, but we also thought it'd be fun to bring these to life."

Marvel has already pulled back the amount of movies and shows it will make. Some years may even only have one movie. Certainly there will be years with only one show released. Also, Marvel has started "grinding down" on budgets, with movies costing up to a third cheaper than the films from 2022 or 2023.
Feige also explains why Thunderbolts* struggled at the box office (even though he's called it a "very, very good movie"). The massive expansion into television and focus on Disney+ led to the feeling that watching Marvel was becoming a type of homework. "It's that expansion that I think led people to say, 'Do I have to see all of these? It used to be fun, but now do I have to know everything about all of these?' And I think The Marvels hit it hardest where people are like, 'Okay, I recognize her from a billion dollar movie. But who are those other two? I guess they were in some TV show. I'll skip it.'" Which had an effect on Thunderbolts*, which featured characters that were seen on various platforms, including some only on shows.
The article notes Friday's release of Fantastic Four: First Steps is Marvel Studios' first crack at the characters after "a trio of movies of various quality and box office made by Twentieth Century Fox before its 2019 acquisition by Disney." And the article also acknowledges "the never-released, 1994 feature produced low-budget king Roger Corman. (Fun fact: the four stars of that movie cameo in Fantastic Four: First Steps.)"

ABC News reports that Ukrainian drones struck Moscow last night — over 100 of them — closing all four of Moscow's international airports and diverting at least 134 planes. And Ukrainian commanders estimate that drones now account for 70% of all Russian deaths and injuries, according to the BBC — which means attacks on the front line are filmed, logged, and counted.

"And now put to use too, as the Ukrainian military tries to extract every advantage it can against its much more powerful opponent." Under a scheme first trialled last year and dubbed "Army of Drones: Bonus" (also known as "e-points"), units can earn points for each Russian soldier killed or piece of equipment destroyed. And like a killstreak in Call of Duty, or a 1970s TV game show, points mean prizes [described later as "extra equipment."]

"The more strategically important and large-scale the target, the more points a unit receives," reads a statement from the team at Brave 1, which brings together experts from government and the military. "For example, destroying an enemy multiple rocket launch system earns up to 50 points; 40 points are awarded for a destroyed tank and 20 for a damaged one."

Call it the gamification of war.
The article concludes that the e-points scheme "is typical of the way Ukraine has fought this war: creative, out-of-the-box thinking designed to make the most of the country's innovative skills and minimise the effect of its numerical disadvantage."

And "It turns out that encouraging a Russian soldier to surrender is worth more points than killing one," the article notes — up to 10x more, since "a prisoner of war can always be used in future deals over prisoner exchanges."

Thanks to long-time Slashdot reader schwit1 for sharing the article.

Google has filed a lawsuit to dismantle the sprawling Badbox 2.0 botnet, which infected over 10 million Android devices with pre-installed malware. Badbox 2.0 "is already the largest known botnet of internet-connected TV devices, and it grows each day. It has harmed millions of victims in the United States and around the world and threatens many more," Google said in its complaint. SecurityWeek reports: The internet giant cautions that, while it has been used mainly for fraud, the botnet could be used for more harmful types of cybercrime, such as ransomware or distributed denial-of-service (DDoS) attacks. In addition to pre-installing the malware on devices, Badbox 2.0's operators also tricked users into installing infected applications that provided them with further access to their personal devices, Google says. As part of their operation, the individuals behind Badbox 2.0 sold access to the infected devices to be used as residential proxies, and conducted ad fraud schemes by abusing these devices to create fake ad views or to exploit pay-per-click compensation models, the company continues. The internet giant also points out that this is the second global botnet the perpetrators have built, after the initial Badbox botnet was disrupted by German law enforcement in 2023.

According to Google, Badbox 2.0 is operated by multiple cybercrime groups from China, each having a different role in maintaining the botnet, such as establishing infrastructure, developing and pre-installing the malware on devices, and conducting fraud. "The BadBox 2.0 Enterprise includes several connected threat actor groups that design and implement complex criminal schemes targeting internet-connected devices both before and after the consumer receives the device," Google says. "While each member of the Enterprise plays a distinct role, they all collaborate to execute the BadBox 2.0 Scheme. All of the threat actor groups are connected to one another through the BadBox 2.0 shared C2 infrastructure and historical and current business ties," the company continues.