ArduinoMania

X is funding a lawsuit filed by Chloe Happe against her former employer Block, which was founded by Jack Dorsey, the same person who founded the website formerly known as Twitter. In her lawsuit, Happe said Block had wrongfully fired her in retaliation for two posts she made on what she called her "pseudonymous, satirical account" on X while on her personal time. One of the posts made after the October 7 Hamas attacks on Israel referenced refugees fleeing Gaza and and coming to the region of Kurdistan. In another, she used ableist language and a slur against transgender people while referencing the use of a "gender neutral restroom in the office."

Happe repeatedly stressed that she "expressed her political views, opinions, or beliefs in the form of satire." She said she did not mention Block in any post on her anonymous account and that she did not make those posts during her work hours. Happe also said that she "voluntarily deleted" the post on refugees within days of posting. She deleted the post with the slurs on the same day she made it upon seeing that X had limited its visibility. 

But Block still obtained copies of the posts and wouldn't tell her if another employee had complained about it, she argued in her lawsuit, admitting that she initially denied making them out of fear that she could get in trouble. She accused Block of terminating her, without severance, solely because she expressed views the company disagreed with. Happe argued that Block's policies expressly allowed its employees to engage in speech like her post, so it was the company that violated its own rules. Jack Dorsey, the founder of both Block (a financial services company) and Twitter, had publicly endorsed Elon Musk before the latter took over ownership of the social media platform. Last year, though, he changed his tune and criticized Musk, saying "it all went south" after he took over and that he "should have walked away" from the acquisition.

On his account, Elon Musk retweeted X's announcement that it's supporting Happe's lawsuit with the caption: "Supporting your right to freedom of speech." The company had previously funded other lawsuits in the name of "free speech." One of those cases is Gina Carano's lawsuit against Lucasfilm and Disney, which she accused of removing her from The Mandalorian for expressing views that were "not in line with the acceptable narrative of the time." Carano notably questioned the effectiveness of COVID-19 vaccines and added "boop/bop/beep" as her pronouns. She also shared a post on Instagram that compared the treatment of conservatives in America to the treatment of Jews in Nazi-era Germany. 

Happe is asking the court to order her reinstatement as a Block employee. She is also asking for compensatory and punitive damages, including for loss of pay from the time she was terminated. 

US Congressional staff members can no longer use Microsoft's Copilot on their government-issued devices, according to Axios. The publication said it obtained a memo from House Chief Administrative Officer Catherine Szpindor, telling Congress personnel that the AI chatbot is now officially prohibited. Apparently, the Office of Cybersecurity has deemed Copilot to be a risk "due to the threat of leaking House data to non-House approved cloud services." While there's nothing stopping them from using Copilot on their own phones and laptops, it will now be blocked on all Windows devices owned by the Congress. 

Almost a year ago, the Congress also set a strict limit on the use of ChatGPT, which is powered by OpenAI's large language models, just like Copilot. It banned staffers from using the chatbot's free version on House computers, but it allowed them to continue using the paid (ChatGPT Plus) version for research and evaluation due to its tighter privacy controls. More recently, the White House revealed rules federal agencies have to follow when it comes to generative AI, which would ensure that any tool they use "do not endanger the rights and safety" of Americans. 

Microsoft told Axios that it does recognize government users' need for higher security requirements. Last year, it announced a roadmap of tools and services meant for government use, including an Azure OpenAI service for classified workloads and a new version of Microsoft 365's Copilot assistant. The company said that all those tools and services will feature higher levels of security that would make it more suitable for handling sensitive data. Szpindor's office, according to Axios, will evaluate the government version Copilot when it becomes available before deciding if it can be used on House devices. 

LinkedIn is testing a new feed of TikTok-like vertical videos. The feature hasn’t been publicly announced but it’s been spotted by users in recent days and the company confirmed the tests to TechCrunch.

According to a screenshot shared by Instagram employee Jenny Eishingdrelo and a video posted to LinkedIn by influencer marketing exec Austin Null, the new feed will appear in a separate “video” tab in the LinkedIn app. Users will be able to scroll vertically to move between clips, much like TikTok or Instagram Reels.

It’s not the first time the company has hopped on a trendy format. LinkedIn previously experimented with a Stories feature for disappearing posts. That feature lasted less than a year, though the professional network hinted at the time that it wasn’t done with its video experiments, saying it was working “to evolve the Stories format into a reimagined video experience across LinkedIn.”

Presumably, LinkedIn is hoping the feed will showcase content from its ranks of professional creators and thought leaders, many of whom are already posting video to their feeds. However, it’s not clear how many of the site’s users are interested in a dedicated video feed for workplace-related content.

An oddball new app called Palmsy lets you post to a social media network full of adoring followers who only exist in your imagination. Whether used as a journaling app with a fresh twist or a nicotine patch equivalent for social media addiction, Palmsy prevents the real world from ever seeing your “posts,” storing them on-device, offline and private.

Palmsy’s App Store description says it “lets you make little posts for yourself.” And, at its core, that’s all you’re doing. As for why you’d want to do such a thing, people who have trouble with typical journaling or mind-mapping apps may find it a more inspiring framework. Or, if your social posting habit has gotten out of hand (or you want a break from it for any other reason), it could serve as a way to wean yourself off and give you the dopamine hit without sharing anything publicly.

One clever wrinkle from developer Pat Nakajima is that the app imports your contacts to generate fake likes from them. As pointed out by TechCrunch, Nakajima wrote on Threads that nothing leaves your device or is posted to your contacts, the app’s servers or anywhere else. “It’s just pretend,” he clarified.

If seeing fake likes from real contacts feels a bit too weird, a recent update added the ability to limit the number of faux likes your posts get. You can also set caps on how long you receive them, ranging from a few seconds to a few days.

The app is free and iOS-only, including iPhone and iPad variants.

Instagram is working on a feature that would recommend Reels to you and a friend based on videos you've shared with each other and your individual interests. Reverse engineer Alessandro Paluzzi unearthed the feature, which is called Blend. Instagram confirmed to TechCrunch that it's testing Blend internally and it hasn't started trialing it publicly. It may be the case that Blend never sees the light of day, though it's always intriguing to find out about the ideas Instagram is toying with.

The platform hasn't revealed more details about how Blend will work, though the idea seems to be that Instagram users and one of their besties will discover new Reels together instead of one of them finding a video they like and DMing it to the other. It would make sense for Blend to have an indicator that the other person has already seen a particular Reel so that the two people who have access to the feed can start chatting about it. 

TikTok doesn't have a feature along these lines, as TechCrunch notes, so Blend could give Instagram an advantage when it comes to folks who like to check out short-form videos together. As with many of the other features platforms of this ilk introduce, Blend fundamentally seems to be about increasing engagement.

OpenAI just announced that it recently conducted a small-scale preview of a new tool called Voice Engine. This is a voice cloning technology that can mimic any speaker by analyzing a 15-second audio sample. The company says it generates “natural-sounding speech” with “emotive and realistic voices.”

The technology is based on the company’s pre-existing text-to-speech API and it has been in the works since 2022. OpenAI has already been using a version of the toolset to power the preset voices available in the current text-to-speech API and the Read Aloud feature. There are a bunch of samples on the company’s official blog and they sound eerily close to the real thing. I encourage you to give them a listen and imagine the possibilities, both good and bad.

OpenAI says they see this technology being useful for reading assistance, language translation and helping those who suffer from sudden or degenerative speech conditions. The company brought up a Brown University pilot program that helped a patient with speech impairment issues by creating a Voice Engine clone pulled from audio recorded for a school project.

Despite the potential benefits, bad actors would certainly abuse this technology to engage in some serious deepfake tomfoolery, which is already a problem. With this in mind, Voice Engine isn’t quite ready for prime time, as there are serious privacy concerns that must be met before a full rollout.

OpenAI acknowledges that this tech has “serious risks, which are especially top of mind in an election year.” The company says its incorporating feedback from “US and international partners from across government, media, entertainment, education, civil society and beyond” to ensure the product launches with a minimal amount of risk. All preview testers agreed to OpenAI’s usage policies, which ban the impersonation of another individual without consent or legal right.

Additionally, anybody using the tech will have to disclose to their audience that the voices are AI-generated. OpenAI implemented safety measures, like watermarking to trace the origin of any audio and “proactive monitoring” of how the system is being used. When the product officially rolls out there will be a “no-go voice list” that detects and prevents AI-generated speakers that are too similar to prominent figures.

As for when that rollout will occur, OpenAI remains tight-lipped. TechCrunch uncovered some potential pricing data and it looks like it will undercut competitors in the space like ElevenLabs. Voice Engine could cost $15 per one million characters, which works out to around 162,500 words. This is about the length of Stephen King’s The Shining. It certainly sounds like a budget-friendly way to get an audiobook done. The marketing materials also make reference to an “HD” version that costs twice as much, but the company hasn’t detailed how that will work.

OpenAI has been making big moves this week. It just announced another partnership with its bestie Microsoft to build an AI-based supercomputer called “Stargate.” The project will reportedly cost a whopping $100 billion, according to The Information.

X is working on features that will allow admins of “Communities,” the platform’s tool for subreddit-like groups, to designate the spaces as containing “adult content.” The change was confirmed by an engineer at X amid reports that the Elon Musk-owned company was working on enabling NSFW groups.

In a post on X, engineer Dong Wook Chung noted that “soon” NSFW content would be automatically filtered in the app’s Communities feature. “Admins can now set 'Adult content' in Settings to avoid auto-filtering of the content,” Chung said.

As Bloomberg reported, researchers had previously spotted clues that X planned to enable settings for “adult-sensitive” content. X permits users to share nudity and other “graphic” content, but doesn’t allow it to appear in certain parts of the app, like profile photos and cover images for Communities.

X’s Communities feature predates Musk’s takeover of the company. Twitter began experimenting with the idea in 2021, saying it would provide “a more intimate space for conversations” on the platform. Though Twitter never publicly discussed enabling NSFW features for Communities, the app allowed adult content, unlike most of its social media peers. The company reportedly looked into creating an OnlyFans competitor with its creator subscription product in 2022. The plan was eventually scrapped, according to the Platformer newsletter, due to concerns it would “worsen” the company’s problems with illegal child exploitation content.

It’s not clear if X’s current leadership has addressed those concerns. In a separate post, Chung, the X engineer, stated that the new filtering settings “is about making Communities safer for everyone by automatically filtering out” adult content. “Only users who have specified their age will be able to search Communities with NSFW content.” 

X didn’t immediately respond to a request for comment.

Gig work predates the internet. Besides traditional forms of self-employment, like plumbing, offers for ad-hoc services have long been found in the Yellow Pages and newspaper classified ads, and later Craigslist and Backpage which supplanted them. Low-cost broadband internet allowed for the proliferation of computer-based gig platforms like Mechanical Turk, Fiverr and Elance, which offered just about anyone some extra pocket change. But once smartphones took off, everywhere could be an office, and everything could be a gig — and thus the gig economy was born.

Maybe it was a confluence of technological advancement and broad financial anxiety from the 2008 recession, but prospects were bad, people needed money and many had no freedom to be picky about how. This was the same era in which the phrase "the sharing economy" proliferated — at once sold as an antidote to overconsumption, but that freedom from ownership belied the more worrying commoditization of any skill or asset. Of all the companies to take advantage of this climate, none went further or have held on harder than Uber.

Uber became infamous for railroading its way into new markets without getting approval from regulators. It cemented its reputation as a corporate ne'er-do-well through a byzantine scandal to avoid regulatory scrutiny, several smaller ones over user privacy and minimally-beneficial surcharges as well as, in its infancy, an internal reputation for sexual harassment and discrimination. Early on, the company used its deep reserves of venture capital to subsidize its own rides, eating away at the traditional cab industry in a given market, only to eventually increase prices and try to minimize driver pay once it reached a dominant position. Those same reserves were spent aggressively recruiting drivers with signup bonuses and convincing them they could be their own boss.

Self-employment has a whiff of something liberatory, but Uber effectively turned a traditionally employee-based industry into one that was contractor-based. This meant that one of the first casualties of the ride-sharing boom were taxi medallions. For decades, cab drivers in many locales effectively saw these licenses as retirement plans, as they'd be able to sell them on to newcomers when it was time to hang up their flat cap. But in large part due to the influx of ride-sharing services, the value of medallions has plummeted over the last decade or so — in New York, for instance, the value of a medallion dropped from around $1 million in 2014 to $100,000 in 2021. That's in tandem with a drop in earnings, leaving many struggling to pay off enormous loans they took out to buy a medallion.

Some jurisdictions have sought to offset that collapse in medallion value. Quebec pledged $250 million CAD in 2018 to compensate cab drivers. Other regulators, particularly in Australia, applied a per-ride fee to ride-sharing services as part of efforts to replace taxi licenses and compensate medallion holders. In each of those cases, taxpayers and riders, not rideshare companies, bore the brunt of the impact on medallion holders.

At first it was just cab drivers that were hurting, but over the years, compensation for this new class of non-employee app drivers dried up too. In 2017, Uber paid $20 million to settle allegations from the Federal Trade Commission that it used false promises about potential earnings to entice drivers to join its platform. Late last year, Uber and Lyft agreed to pay $328 million to New York drivers after the state conducted a wage theft investigation. The settlement also guaranteed a minimum hourly rate for drivers outside of New York City, where drivers were already subject to minimum rates under Taxi & Limousine Commission rules.

Many rideshare drivers have also sought recognition as employees rather than contractors, so they can have a consistent hourly wage, overtime pay and benefits — efforts that the likes of Uber and rival Lyft have been fighting against. In January, the Department of Labor issued a final rule that aims to make it more difficult for gig economy companies to classify workers as independent contractors rather than employees. The EU is also weighing a provisional deal to reclassify millions of app workers as employees.

Of course, the partial erosion of an entire industry's labor market wasn't always the end goal. At one point, Uber wanted to zero out labor costs by getting rid of drivers entirely. It planned to do so by rolling out a fleet of self-driving vehicles and flying taxis.

"The reason Uber could be expensive is because you're not just paying for the car — you're paying for the other dude in the car," former CEO Travis Kalanick said in 2014, a day after Uber suggested drivers could make $90,000 per year on the platform. "When there's no other dude in the car, the cost of taking an Uber anywhere becomes cheaper than owning a vehicle. So the magic there is, you basically bring the cost below the cost of ownership for everybody, and then car ownership goes away."

Uber's grand automation plans didn't work out as intended, however. The company, under current CEO Dara Khosrowshahi, sold its self-driving car and flying taxi units in late 2020.

Uber's success had second-order effects too: despite a business model best described as "set money on fire until (fingers crossed!) a monopoly is established" a whole slew of startups were born, taking their cues from Uber or explicitly pitching themselves as "Uber for X." Sure, you might find a place to stay on Airbnb or Vrbo that's nicer and less expensive than a hotel room. But studies have shown that such companies have harmed the affordability and availability of housing in some markets, as many landlords and real-estate developers opt for more profitable short-term rentals instead of offering units for long-term rentals or sale. Airbnb has faced plenty of other issues over the years, from a string of lawsuits to a mass shooting at a rental home.

Increasingly, this is becoming the blueprint. Goods and services are exchanged by third parties, facilitated by a semi-automated platform rather than a human being. The platform's algorithm creates the thinnest veneer between choice and control for the workers who perform identical labor to the industry that platform came to replace, but that veneer allows the platform to avoid traditionally pesky things like legal liability and labor laws. Meanwhile, customers with fewer alternative options find themselves held captive by these once-cheap platforms that are now coming to collect their dues. Dazzled by the promise of innovation, regulators rolled over or signed a deal with the devil. It's everyone else who's paying the cost.

To celebrate Engadget's 20th anniversary, we're taking a look back at the products and services that have changed the industry since March 2, 2004.

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I had a favorite version of Mulan growing up (Anita Yuen in the 1998 Taiwanese TV series). I obsessed over Chinese period TV series like Legend of the Condor Heroes, My Fair Princess and The Book and the Sword. I consider myself fairly well-versed in Chinese historical figures, especially those represented in ‘90s and 2000s entertainment in Asia. So when I found out that a UK-based studio had made a VR game called The Pirate Queen based on a forgotten female leader who was prolific in the South China Sea, I was shocked. How had I never heard of her? How had the Asian film and TV industry never covered her?

I got to play a bit of the game this week, which was released on the Meta Quest store and Steam on March 7th. The titular character Cheng Shih is voiced by actor Lucy Liu, who also executive produced this version of the game with UK-based Singer Studios’ CEO and founder Eloise Singer. Liu and Singer sat with me for an interview discussing The Pirate Queen, Cheng Shih, VR’s strengths and the importance of cultural and historical accuracy in games and films.

Cheng Shih, which translates to “Madam Cheng” or “Mrs Cheng,” was born Shi Yang. After she married the pirate Cheng Yi (usually romanized as Zheng Yi), she became known as Cheng Yi Sao, which translates to “wife of Cheng Yi.” Together they led the Guangdong Pirate Confederation in the 1800s. Upon her husband’s death in 1807, she took over the reins and went on to become what South China Morning Post described as “history’s greatest pirate.”

Singer Studios

How did Singer Studios learn about Cheng Shih and decide to build a game (and upcoming franchise including a film, podcast and graphic novels) around her? According to Singer, it was through word of mouth. “It was a friend of mine who first told me the story,” Singer said. “She said, ‘Did you know that the most famous pirate in history was a woman?’”

Cheng Shih had been loosely referenced in various films and games before this, like the character Mistress Ching in the 2007 film Pirates of the Caribbean: At World’s End and Jing Lang in Assassin’s Creed IV: Black Flag. As Singer pointed out, Cheng Shih had also appeared in a recent episode of Doctor Who.

Singer said that her team started developing the project as a film at the end of 2018. But the pandemic disrupted their plans, causing Singer to adapt it into a game. A short version of The Pirate Queen later debuted at Raindance Film Festival, and shortly after, Meta came onboard and provided funding to complete development of the game. Liu was then approached when the full version was ready and about to make its appearance at Tribeca Film Festival 2023.

“The rest is history,” Liu said, “But not forgotten history.” She said Cheng Shih was never really recognized for being the most powerful pirate. “It seems so crazy that in the 19th century, this woman who started as a courtesan would then rise to power and then have this fleet of pirates that she commanded,” Liu added. She went on to talk about how Cheng Shih was ahead of the time and also represented “a bit of an underdog story.” For the full 15-minute interview, you can watch the video in this article or listen to this week’s episode of The Engadget Podcast and learn more about Liu and Singer’s thoughts on VR and technology over the last 20 years.

Capturing the historical and cultural details of Cheng Shih’s life was paramount to Liu and Singer. They said the team had to create women’s hands from scratch to be represented from the player’s perspective in VR, and a dialect coach was hired to help Liu nail the pronunciation for the Cantonese words that Cheng Shih speaks in the game. Though I’m not completely certain if Cheng Shih spoke Mandarin or Cantonese, the latter seems like the more accurate choice given it’s the lingua franca in the Guangdong region.

Singer Studios

All that added to the immersiveness of The Pirate Queen, in which players find themselves in an atmospheric maritime environment. The Meta Quest 3’s controllers served as my hands in the game, and I rowed boats, climbed rope ladders and picked up items with relative ease. Some of the mechanics, especially the idea of “teleportation” as moving around, were a little clunky, but after about five minutes I got used to how things worked. You’ll have to point the left controller and push the joystick when you’ve chosen a spot, and the scene changes around you. This probably minimizes the possibility of nausea, since you’re not standing still while watching your surroundings move. It’s also pretty typical of VR games, so those who have experience playing in headsets will likely be familiar with the movement.

You can still walk around and explore, of course. I scrutinized the corners of rooms, inspected the insides of cabinets and more, while hunting for keys that would unlock boxes containing clues. A lot of this is pretty standard for a puzzle or room escape game, which is what I used to play the most in my teens. But I was particularly taken by sequences like rowing a boat across the sea and climbing up a rope ladder, both of which caused me to break a mild sweat. Inside Cheng Shih’s cabin, I lit a joss stick and placed it in an incense holder — an action I repeated every week at my grandfather’s altar when I was growing up. It felt so realistic that I tried to wave the joss stick to put out the flame and could almost smell the smoke.

It’s these types of activities that make VR games great vehicles for education and empathy. “We didn’t want to have these combat elements that traditional VR games do have,” Singer said, adding that it was one of the challenges in creating The Pirate Queen.

“It’s nice to see and to learn and be part of that, as opposed to ‘Let’s turn to page 48,’” Liu said. “That’s not as exciting as doing something and being actively part of something.” When you play as a historical character in a game, and one that’s as immersive as a VR game, “you’re living that person’s life or that moment in time,” Liu added.

While The Pirate Queen is currently only available on Quest devices, Singer said there are plans to bring it to “as many headsets as we possibly can.” Singer Studios also said it is “extending The Pirate Queen franchise beyond VR into a graphic novel, film and television series.”