Drake apparently learned it isn’t wise to mess with Tupac Shakur — even decades after his untimely death. Billboard first spotted that the Canadian hip-hop artist deleted the X (Twitter) post with his track “Taylor Made Freestyle,” which used an AI-generated recreation of Shakur’s voice to try to get under Kendrick Lamar’s skin.

The takedown came after an attorney representing the late hip-hop legend threatened to sue the Canadian rapper for his “unauthorized” use of Tupac’s voice if he didn’t remove it from social channels within 24 hours. However, the track was online for a week and — unsurprisingly — has been copiously reposted.

“The Estate is deeply dismayed and disappointed by your unauthorized use of Tupac’s voice and personality,” Howard King, the attorney representing Shakur’s estate, wrote earlier this week in a cease-and-desist letter acquired by Billboard. “Not only is the record a flagrant violation of Tupac’s publicity and the estate’s legal rights, it is also a blatant abuse of the legacy of one of the greatest hip-hop artists of all time. The Estate would never have given its approval for this use.”

2PAC.com

King implied that using Shakur’s voice to diss Lamar was an especially egregious show of disrespect. Lamar, a 17-time Grammy winner and Pulitzer recipient, has spoken frequently about his deep admiration for Tupac, and the Oakland rapper’s estate says the feelings are mutual. “The unauthorized, equally dismaying use of Tupac’s voice against Kendrick Lamar, a good friend to the Estate who has given nothing but respect to Tupac and his legacy publicly and privately, compounds the insult,” King wrote in a cease-and-desist letter.

Drake’s track also included an AI-generated clone of Snoop Dogg’s voice. The Doggystyle rapper and cannabis aficionado appeared surprised in a social post last week: “They did what? When? How? Are you sure?” He continued, “Why everybody calling my phone, blowing me up? What the fuck? What happened? What’s going on? I’m going back to bed. Good night.”

However, the one-time Doggy Fizzle Televizzle host has a history of poker-faced coyness. Last year, he took to Instagram to solemnly announce he was “giving up smoke,” leading to rampant speculation about why the stoner icon would quit his favorite pastime. Soon after, his announcement was revealed as a PR stunt for Solo Stove — which, marketing gimmicks aside, makes some terrific bonfire pits.

Aaron Sorkin has announced that he’s currently writing a followup script to The Social Network, according to The Hollywood Reporter. He broke the news during an episode of The Town podcast that centered on how Facebook and social media have influenced democracy in the years since his Oscar-winning hit. The first film chronicled the early days of Mark Zuckerberg’s social network and starred Jesse Eisenberg, Andrew Garfield and Justin Timberlake, among others.

Sorkin is cagey on the actual details of the new script, but it looks to follow Facebook throughout the Trump era. He went on to tell the podcast hosts that he actually blames the social media site for the January 6 riots that claimed the lives of five people and led to the injuries of more than 140 police officers. “Look, yeah, I’ll be writing about this,” Sorkin told podcast hosts Matthew Belloni and Peter Hamby. “I blame Facebook for January 6.”

He didn’t give any reason as to why he blames Facebook for the attack on the capitol, telling the podcast hosts that they will have to “buy a movie ticket.” Facebook, Google, Twitter and Reddit were all subpoenaed as part of the investigation into January 6. Lawmakers have suggested that Facebook didn’t take the proper steps to handle the “Stop the Steal” movement, which was organized on the platform, and that it didn’t recognize the danger posed by these groups until after the violence in DC.

Whistleblower Frances Haugen told Congress that Facebook disbanded its civic integrity team after the 2020 election. She also has said that Facebook knew its algorithms and platforms promoted harmful content and that “it failed to deploy internally recommended or lasting countermeasures.” According to Haugen, the company chose profits over safety.

Sorkin has obviously been paying attention to all of this, saying in the same interview that “Facebook has been, among other things, tuning its algorithm to promote the most divisive material possible. Because that is what will increase engagement.” He further dinged the company by suggesting that “there’s supposed to be a constant tension at Facebook between growth and integrity. There isn’t. There’s just growth.”

Now, don’t go heading to your local multiplex to buy a ticket for The Social Network 2: Electric Boogaloo just yet. The script is still in the early stages and Sorkin hasn’t announced a partnership with any studio to get the film made. This also isn’t his first attempt to get something like this off the ground. He was previously working on a script entirely about January 6, but it didn’t move forward. It remains to be seen if some aspects of that script will end up in followup to The Social Network, should it actually get made. He told the Happy Sad Confused podcast that he would only push to make a sequel to The Social Network if David Fincher returned to direct it. 

If a studio does sign on to make this project, which is fairly likely given the success of the 2010 film, it leaves me with two glaring questions. Can Jesse Eisenberg grow a sweet beard and what are his thoughts on ultra-premium livestock?

Tupac Shakur’s estate is none too happy about Drake cloning the late hip-hop legend’s voice in a Kendrick Lamar diss track. Billboard reported Wednesday that attorney Howard King, representing Mr. Shakur’s estate, sent a cease-and-desist letter calling Drake’s use of Shakur’s voice “a flagrant violation of Tupac’s publicity and the estate’s legal rights.”

Drake (Aubrey Drake Graham) dropped the diss track “Taylor Made Freestyle” last Friday, the latest chapter of the artist’s simmering decade-long feud with Pulitzer and 17-time Grammy award winner Kendrick Lamar.

“Kendrick, we need ya, the West Coast savior / Engraving your name in some hip-hop history,” an AI-generated 2Pac recreation raps in Drake’s track. “If you deal with this viciously / You seem a little nervous about all the publicity.”

Representing Shakur’s estate, King wrote in the cease-and-desist letter that Drake has less than 24 hours to pull down “Taylor Made Freestyle,” or the estate would “pursue all of its legal remedies” to force the Canadian rapper’s hand. “The unauthorized, equally dismaying use of Tupac’s voice against Kendrick Lamar, a good friend to the Estate who has given nothing but respect to Tupac and his legacy publicly and privately, compounds the insult,” King wrote, according to Billboard.

“The Estate is deeply dismayed and disappointed by your unauthorized use of Tupac’s voice and personality,” King wrote. “Not only is the record a flagrant violation of Tupac’s publicity and the estate’s legal rights, it is also a blatant abuse of the legacy of one of the greatest hip-hop artists of all time. The Estate would never have given its approval for this use.”

SnoopDogg.com

“Taylor Made Freestyle” also used AI to clone Snoop Dogg’s voice, with Drake using digital clones of two of Lamar’s west-coast hip-hop influences to try to hit him where it hurts. In a video posted to social media the following day, Snoop didn’t appear to know about the track. “They did what? When? How? Are you sure?”, the 16-time Grammy nominee and herb connoisseur said. “Why everybody calling my phone, blowing me up? What the fuck? What happened? What's going on? I'm going back to bed. Good night,” he continued.

Engadget emailed Snoop Dogg’s management to ask about his thoughts on Drake cloning his voice. At the time of publication, we hadn’t heard back.

The saga contains more than a bit of irony — if not outright hypocrisy — from Universal Music Group (UMG), the label representing Drake. You may remember the track “Heart on My Sleeve” by “Ghostwriter977,” which briefly went viral last year. It was pulled after UMG complained to streaming services because it used an AI-generated version of Drake’s voice (along with The Weeknd).

Engadget asked UMG if it approved of Drake’s use of AI-generated voices in “Taylor Made Freestyle” and where it stands on the broader issue of using artists’ digital clones. We haven’t received a comment at press time. Without a clear explanation, it’s hard not to see the label as being on the side of whatever seems most financially advantageous to it at any particular moment (surprise!).

Laws addressing AI-cloned voices of public figures are still in flux. Billboard notes that federal copyrights don’t clearly cover the issue since AI-generated vocals typically don’t use specific words or music from the original artist. Mr. King, speaking for Shakur’s estate, believes they violate California’s existing publicity rights laws. He described Drake’s use of Shakur’s voice as forming the “false impression that the estate and Tupac promote or endorse the lyrics for the sound-alike.”

Last month, Tennessee passed the ELVIS (“Ensuring Likeness Voice and Image Security”) Act to protect artists from unauthorized AI voice clones. The “first-of-its-kind legislation” makes copying a musician’s voice without consent a criminal Class A misdemeanor.

But none of the parties involved in this feud are in Tennessee. On the federal level, things are moving much more slowly, leaving room for legal uncertainty. In January, bipartisan US House legislators introduced the No Artificial Intelligence Fake Replicas And Unauthorized Duplications Act (“No AI FRAUD”), putting cloned voices like those Drake used in the government’s crosshairs. Congress hasn’t taken any public action on the bill in the more than three months since.

“It is hard to believe that [Tupac’s record label]’s intellectual property was not scraped to create the fake Tupac AI on the Record,” King wrote in the cease-and-desist letter. He demanded Drake offer “a detailed explanation for how the sound-alike was created and the persons or company that created it, including all recordings and other data ‘scraped’ or used.”

World of Warcraft, Diablo and Overwatch fans who were looking forward to getting together at BlizzCon in November may be disappointed to learn that Blizzard has canceled this year's edition of the event. The publisher didn't give a clear reason as to why it made that decision, but said it was "not made lightly as BlizzCon remains a very special event for all of us, and we know many of you look forward to it." 

Even so, BlizzCon isn't necessarily gone for good, unlike E3. "While we’re approaching this year differently and as we have explored different event formats in the past, rest assured that we are just as excited as ever to bring BlizzCon back in future years," Blizzard wrote in a blog post.

The publisher plans to spill the beans about expansions (including the upcoming three-part WoW saga and Diablo IV DLC) for its franchises at other events, such as industry trade shows and Gamescom. Now that Blizzard is under Microsoft's umbrella, we can probably expect some news from the publisher at the annual Xbox showcase in June. There are also in-person events lined up for Overwatch esports and to celebrate the 30th anniversary of Warcraft. 

BlizzCon 2023 was the first in-person edition since 2019, so to miss out once again in 2024 may come as a blow for many fans. Now they'll likely need to wait until at least late 2025 to meet up with a bunch of their peers and Blizzard developers again.

You may be able to give those plastic Rock Band guitars you have stuffed away in the attic a new lease of life. Fortnite Festival (a Rock Band-style mode that debuted in Fortnite in December) now supports several Rock Band 4 controllers across PlayStation, Xbox and PC, as detailed in a blog post.

If you have a compatible plastic guitar, you can use it to play new Pro Lead and Pro Bass parts in any Jam Track. These parts have colored notes for each lane that match with the guitar controller buttons. They also include hammer-on and pull-off notes — just like Rock Band and Guitar Hero.

Epic Games (which bought Rock Band developer Harmonix in 2021 to build music experiences for Fortnite) plans to add support for more peripherals down the line. Hopefully, the developers will make the whammy bar more useful beyond triggering a visual effect too.

Epic previously said it would add support for Rock Band guitars. Earlier this year, third-party peripheral maker PDP (which Turtle Beach recently purchased) unveiled a new Xbox and PlayStation wireless guitar controller for Rock Band 4 and Fortnite Festival.

Support for the Rock Band peripherals come just as Billie Eilish joins the game as its new music icon. Several of her songs are available to buy and use in Fortnite Festival, and you'll be able to purchase an Eilish outfit (or unlock one through a secondary battle pass) and play as her in the Battle Royale mode.

Meanwhile, Epic has added a setting that allows players to hide certain emotes that others often use for trolling in Battle Royale. For instance, after being eliminated, a player might not want to see a rival using the "Take the L" emote, which involves making the shape of an "L" (for "loser") on their forehead and doing a silly dance. The setting won't stop players from using any emotes and it only hides four of them for now. Somehow, one of the emotes that the setting doesn't hide is a personal favorite called "Rage Quit."

Atlus first teased that it was working on a new RPG with a fantasy setting in mid-2023 — it also said way back then that it will be available sometime this year. Now, the developer has revealed that the game, Metaphor: ReFantazio, will come out on October 11 at a special livestream event. Katsura Hashino, the director of the game, as well as of Persona 3, 4 and 5, also introduced a 30-minute hands-on gameplay that gives you quite a lengthy look at its story and combat mechanics. Similar to the Persona games, Metaphor: ReFantazio has a turn-based combat system with what Atlus says is a "blend of real-time action."

Also, like the Persona games, you'll have to manage your time, so that you can build bonds with your allies and increase your "virtues" outside of dungeon-crawling. Metaphor: ReFantazio is set in the fictional United Kingdom of Euchronia, which was plunged into chaos after the assassination of its king. In the middle of the royal tournament for the throne, the protagonist and his partner fairy Galica go on a journey to find the cursed prince that was thought to be dead and team up with new allies along the way. 

Physical copies of the game, both standard and limited Collector's editions, are now available for pre-order, but you'll have to wait a bit if you'd rather get the digital version. Upon launch, the game will be available for various consoles, namely the Xbox Series X|S, PlayStation 5 and PlayStation 4, as well as on Windows and Steam on PC.

If the 30-minute gameplay footage is too long for you, here's a new trailer you can watch instead:

Hollywood has really begun flexing its video game adaptation muscle in the wake of the spectacular success of the Fallout TV show and The Super Mario Bros. Movie. Even indie publishers are getting some of those sweet, sweet development contracts. Case in point? The hit third-person shooter El Paso, Elsewhere is being adapted into a feature length film, as reported by Deadline.

Academy Award nominee LaKeith Stanfield is in talks to both star and produce. Stanfield is known for a slew of great films, like Sorry to Bother You, Judas and the Black Messiah and The Book of Clarence, among others. Di Bonaventura Pictures and Colin Stark will also produce.

The game has players control a drug-addicted vampire hunter as he tracks down a blood-sucking ex-girlfriend who’s set on ending the world. The movie will follow a similar story structure, according to Deadline. The indie title has been praised for being a fantastic homage to third-person action shooters like the Max Payne series, though one that absolutely oozes surreal charm. In other words, it makes sense as a movie.

Of course, this is just the latest video game adaptation to ping our radar. Fallout, The Last of Us and Twisted Metal have all been renewed for second seasons. The Super Mario Bros. Movie is getting a sequel and The Legend of Zelda is finally being adapted into a movie. More recently, it was announced that the horror-tinged fishing sim Dredge is being turned into a movie, as is the action game Sifu.

There are also upcoming cartoons based on Splinter Cell, Vampire Survivors and Golden Axe. That's not all. There are upcoming movies based on Borderlands, Minecraft, Gears of War and so many others, not to mention the multimodal Sonic the Hedgehog cinematic universe. Video games and Hollywood are finally besties, after decades of false starts. Now, give me a series adaptation of the Dreamcast-era “virtual pet” Seaman, you cowards.

In Tolkien's Middle-earth of orcs and Nazgûl, "cozy" isn't exactly the first word that springs to mind. And yet, Tales of the Shire is an upcoming cozy life sim set in the universe of The Lord of the Rings. Several months after the game was announced, developer Weta Workshop (which worked on the special effects for all six of Peter Jackson's Middle-earth films) and publisher Private Division have offered a first proper look at it with a new trailer.

The clip opens with a narration noting that, while Hobbits have been known for "tales of courage and brave deeds in dark times," things will be much lighter here. You and your Hobbit will explore Bywater, decorate a home, make friends, cook, grow crops, go fishing (of course) and much more. You'll get to enjoy what appears to be a very chill existence in The Shire. The stylized, cartoony art style lends itself to the warm atmosphere that Weta Workshop is trying to project.

Tales of the Shire is coming to PC, Nintendo Switch, PlayStation 5 and Xbox Series X/S later this year.

It’s never good to recommend a comedy by saying it makes you weep, but somehow Bluey, a comedy for kids, feels more real and more truthful than anything else on TV. I see so much of myself in Bandit’s triumphs and failures as he tries to parent his two daughters. I nod along to all of his unsuccessful parenting tactics that, I’ll admit, I’ve also tried on my own two kids. And then, at the end of so many episodes, I’ll realize that the front of my t-shirt is wet with tears because I've been crying.

There can’t be many people unfamiliar with Bluey, the biggest kids’ TV series on the planet, if not the biggest series overall. Each seven-minute episode is a slice-of-life sitcom about the Heelers, a family of anthropomorphic dogs living in Brisbane, Australia. Bluey and her younger sister Bingo live with parents Bandit and Chilli. The show started out focused on the playtimes the kids would have with each other or their parents. But it quickly sprawled out to create a rich world in the vein of The Simpsons, with a whole city’s worth of storylines. It can now regularly relegate the Heelers to the background to focus on the show’s deep cast of characters.

It closed out its third season with last Sunday's “The Sign,” a (comparatively) epic 28-minute episode and this week with “Surprise,” a sweet little postscript. The former’s long running time was described as a dry-run for any potential Bluey movie, wrapping up a number of the show’s storylines. It focuses on a wedding taking place at the Heeler’s home in the shadow of the family’s plan to relocate to another city. I won’t spoil too much beyond saying “The Sign” is a story about the bigness of change and how that affects parents and kids alike. Much of it focused on Bandit’s decision to move for a better-paid job and the way that impacted Chilli and the two girls. It’s a complicated issue, especially because it highlights that parents often just want to do what’s best for the kids.

Ludo Studio

“Surprise,” meanwhile, focuses more on the mundane struggle of Bandit trying to play two different games with his daughters at the same time. Much as Bluey wants to be just seven minutes of silly fun, it can’t quite help but be honest about the emotional and physical labor of parenting. All Bandit wants to do is sit down and watch sport on the TV but his daughters won’t allow him that luxury. He’s chased around the house, forced to pretend to teach a tennis ball to ride a bike and then pelted with ping pong balls fired from a toy launcher. (Bluey’s happy to highlight how often Bandit will get hit in the groin as a consequence of whatever game the girls are playing.)

The payoff to all of that effort comes in the final half minute of the episode, which is when I started sobbing. As much as it may be pitched as a palate cleanser after the scale and emotional heft of the previous episode, the final moments offer a real (if pleasant) punch to the gut. I can’t help but feel plenty of parallels in Bluey’s life and that of my own (similarly-aged) daughter, and feel a lot of kinship with Bandit as well. If I’m one one-hundredth as good a parent as this silly cartoon dog who often gets it wrong, then I’ll feel like I’ve done a good job.

There’s been speculation that this third season may be the end for Bluey. Bloomberg reported the uncertainty around creator Joe Brumm’s future with the show, although producer Sam Moor has said it will continue in some form. Any delay would also risk that the child actors – who remain anonymous for their own safety — will age out of being able to play their roles. But in many ways, Bluey can’t not continue given the show is now a multi-billion dollar cash cow for the BBC, which owns a big chunk of the show’s rights.

I don’t want to say goodbye to Bluey and the Heelers, and I’d prefer they kept the cast as-is and let them grow up alongside Bandit and Chilli. That, to me, would be an honest thing to do, rather than indulging in the fakery that dogs so many TV shows which face this problem. But if they have to go, I’ll choose to remember Bluey’s three perfect seasons through the highs and lows of parenting.

In this installment of what we're listening to, Reviews Editor Cherlynn Low dives into new releases from Taylor Swift and Ariana Grande, and explores what music means to us when songs are consumed more like books and journal entries.

Cherlynn Low, Deputy Editor, Reviews

April 19 should have been declared a global holiday. It was, after all, the release day of Taylor Swift’s highly anticipated album, The Tortured Poets Department (TTPD). How could we be expected to work on this most hyped of Fridays, when there were lyrics to overanalyze and melodies to emo-walk to?

Taylor Swift - The Tortured Poets Department

I’ll admit: I hate myself a bit for the eagerness with which I hit play on albums like TTPD and Ariana Grande’s Eternal Sunshine (ES). Both musicians had recently left long-term relationships and got together with new beaus, amid rabid press coverage and relentless speculation on Reddit. I usually prefer to hear from the people involved instead of reading tabloid articles based on what “friends close to” said, and for Swift and Grande, songs are usually as close as we’ll get to primary sources. 

I saw these albums as opportunities to get their takes on what went down. Granted, it’s always wise to take their words with generous helpings of salt, the same way therapists tend to remember that their patients’ retelling of stories can be skewed or unreliable.

Both Grande and Swift have made their lives the subject of their music for years, and they often have an air of defensiveness. Titles like “Look What You Made Me Do” and “Yes, and?” make me think of people who blame others or don’t care about the consequences of their actions. Even songs like Swift’s “Anti-Hero” from her last album and Grande’s “Thank U, Next” seem at first glance to be about taking accountability, but really continue the theme of dodging real responsibility.

I’m not sure if music has always been rooted in scrutinizing the artist’s life, but it certainly seems to have become more popular in recent years. The level of interest and analysis around things as simple as word choice or order has probably never been as high, either. It’s also worth considering that these two much-hyped albums were released within two months of each other. Granted, Swift’s new music has only been out for about 40 hours, and there are 31 whole songs spanning a full 65 minutes and 8 seconds, so I will need to listen to it a few more times for it all to sink in.

Grande’s album, which dropped last month, was scrutinized by fans and critics alike. It was released shortly after her divorce from Dalton Gomez and her budding relationship (reportedly) with fellow Wicked cast member Ethan Slater.

When I first played through ES, I was mostly underwhelmed and annoyed. There was, as expected, no accountability for what her actions did to the mother of a newborn and a lot of romanticizing of her latest man. But even on just my second listening, I knew I had a few favorite tracks. Other Engadget staff members agree with me: ES is a solid album with quite a few bangers. 

Ariana Grande - Eternal Sunshine

I may not endorse Grande’s behavior — and no one asked me to — but damn, I can’t help liking her music. And it’s probably because I’m hooked on the melodies and production, not the lyrical content.

Swift, on the other hand, seems more of an aspiring wordsmith. Much has been said about her lyrical abilities, and I have no desire to retread those waters. I’ll just say that as an occasional aspiring poet myself, I have to admire the laissez faire approach of rhyming “department” with “apartment.”

I’m more intrigued by what seems to me like the priority of a song’s words over its tune and sound. Like Billboard states, TTPD’s title alone “calls even more attention to her lyricism than usual.”

Swift’s music has always felt like journal entries meant for the public, chock-full of inside references, Easter eggs and thinly veiled digs at former lovers. Her earlier works were therefore highly relatable for scores of teenagers around the world. But as her success ballooned, so has she grown out of touch with the average person, and her songs have consequently become more like glimpses into a life that mere mortals can only dream about. While her pieces continue to feel like blogs or Tumblr posts, Swift controls the narrative by carefully orchestrating not just synths, guitars and lyrics, but also pap walks and delicately timed public appearances.

Unlike Grande, who has mostly avoided appearing with Slater at high-profile events and also hasn’t hidden as many Easter eggs in her songs, Swift has not been afraid to show off and show up for her new partner. She’s not publicity-averse; she seems to anticipate and almost courts it.

With the general strategy around TTPD, like announcing it at the Grammy’s and slow teases of lyrics and cover art, it certainly seems like these days, the billionaire with a private jet problem is more focused on her myth and financial value than the art of songwriting.

Swift surprised everyone at 2AM on April 19 by releasing a whole 15 more songs alongside the initial 16 people were expecting for TTPD. This meant that anyone who pre-ordered the original album would miss out on basically an entire second album worth of tracks and need to spend more. The Swift team also made several versions of the physical album available, like collectors’ editions — all blatant cash grabs designed to maximize revenue.

Grande is guilty of this too, making so many different iterations of “Yes, and?” when that single was released in what seemed like an attempt to place the song at the top of streaming charts. ES also has different versions of cover art for fans to spend their hard-earned money on.

Here’s the thing. Do I care deeply about either of these albums? Nope. Did I eagerly listen to them, hoping to glean insight on their seemingly messy and chaotic relationships? Yes. But despite Swift’s marketing and positioning herself as a poet — and TTPD offering more of a look at her fling with Matty Healy from The 1975 — I realized I just didn’t quite like her album musically. In fact, my favorite Swift songs like “Wildest Dreams” and “Delicate” are beautiful symphonies of atmospheric synths and instrumentation.

Maybe I’m just learning that I care more about music than lyrics. Or maybe I think good songs are a combination of the two and should speak for themselves without having to rely on hype, gossip and marketing tactics. To be fair, that’s true of all art, whether it’s film, photography or poetry. And while the irony of my being sucked into playing TTPD and ES due to the promise of learning about their lives isn’t lost on me, I guess I just wish I could listen to music (and read books and watch movies) without having to worry or be so concerned about the creator’s choices and actions. But in 2024 (and beyond), that seems no longer feasible.