There’s another Matrix movie in the works. Warner Bros. just greenlit a fifth installment of the saga, as reported by Deadline. However, neither Lana Wachowski or Lilly Wachowski will be handling directing duties. That honor falls to Drew Goddard, who adapted The Martian into a screenplay and directed the criminally underrated Cabin in the Woods. He's also writing the script. 

Goddard cut his teeth writing episodes of Buffy the Vampire Slayer, Angel and Lost, among others — you could say he knows his way around genre content. Lana Wachowski will be on board as an executive producer, so there will be some input from one of the franchise’s original creators.

There’s no word as to what the film will be about, but Warner Bros. says that Goddard came to the company with a “new idea that we all believe would be an incredible way to continue the Matrix world.” Goddard added that the original films inspire him on a daily basis and that he is “beyond grateful for the chance to tell stories” in that world.

Warner Bros. is also being cagey as to which, if any, cast members would be returning. The original trilogy featured Keanu Reeves, Carrie Anne-Moss, Laurence Fishburne, Hugo Weaving and Jada Pinkett Smith. Most of these actors returned for 2021’s The Matrix Resurrections, with one story-based exception.

Speaking of The Matrix Resurrections, it received mixed reviews from both critics and audiences. We loved the film, going as far as to call it brilliant, but admitted that it wasn’t for everyone. That’s par for the course with this franchise. Every single Matrix movie beyond the first one is divisive. We’ll have to wait and see what Goddard brings to the table.

He’s also writing a film adaptation based on another novel by The Martian scribe Andy Weir. Project Hail Mary will be directed by Phil Lord and Christopher Miller and will star Ryan Gosling as an astronaut trying to save the planet from a star-eating microbe.

Stability AI just unveiled Stable Audio 2.0, an upgraded version of its music-generation platform. This system lets users create up to three minutes of audio via text prompt. That’s around the length of an actual song, so it'll also whip up an intro, a full chord progression and an outro.

First, the good news. Three minutes is huge. The previous version of the software maxed out at 90 seconds. Just imagine the fake birthday song you could make in the style of that one Rob Thomas/Santana track. Another boon? The tool is free and publicly available through the company’s website, so have at it.

It primarily works via text prompt, but there’s an option to upload an audio clip. The system will analyze the clip and produce something similar. All uploaded audio must be copyright-free, so this isn’t for the purposes of mimicking something that already exists. Rather, it could be useful for, say, humming a drum part or extending a 20 second clip into something longer.

Now, the bad news. This is still AI-generated music. It’s cool as a conversation piece and as an emblem of a possible future that’s great for tinkerers and bad for musicians, but that’s about it. The songs can actually sound nifty, at first, until the seams start showing. Then things get a bit creepy.

For instance, the system loves adding vocals, but not in any known human language. I guess it’s in whatever language that makes up the text in AI-generated images. The vocals sort of sound like actual people, and other times they sound Gregorian chanters filtered through outer space. It’s right smack dab in the middle of that uncanny valley. The Verge called the vocals “soulless and weird," comparing them to whale sounds. That tracks. 

Stable Audio 2.0 makes the same weird little mistakes that all of these systems make, no matter the output type. Parts can vanish into thin air, replaced with something else. Sometimes melodic elements will double out of nowhere, like an audio version of those extra fingers in AI-generated images.

There’s also the, well, boring-ness of it all. This is music in name only. Without a human connection, what’s the point? I listen to music to get inside the head of another person or group of people. There’s no head to get inside of here, despite constant proclamations that artificial general intelligence (AGI) is only months away.

So, this tech is an absolute gift for those making silly birthday videos or bank hold music. For everyone else? Shrug. One thing I can say from personal experience: It’s pretty fast. The system concocted an absolutely terrifying big band song about my cat in around a minute. 

Fish swim, birds fly and streaming services increase their prices. That’s (mostly) the way of things. After maintaining the same pricing for Premium for a long time, Spotify looks set to increase it twice within a year in some countries.

According to Bloomberg, Spotify Premium will be around $1 more for an individual plan and about $2 costlier for family and duo plans by the end of April in a few markets, including the UK, Australia and Pakistan. The report suggests the US is in line for a similar increase later this year.

The higher fees are expected to offset the costs of audiobook offerings. Since October, Premium users in select markets have been able to listen to 15 hours of audiobooks per month at no extra cost. The company is said to have seen strong levels of audiobook consumption so far.

If users go over the 15-hour limit, they can pay for a 10-hour top up. It’s there that Spotify makes more money from its Premium audiobook library. The company also sells audiobooks on its web store.

Spotify has been chasing profitability since it went public in 2018 and to help it get there, it’s said to be preparing several more subscription tiers. One of those (a more expensive option) will reportedly offer high-fidelity audio, a feature the company has long been promising.

It may also introduce a basic tier that includes ad-free music and podcasts, with audiobooks being cut out. This plan is expected to cost $11 per month, the same as Spotify currently charges for Premium. As such, that $10 audiobook-only plan Spotify introduced in the US last month is starting to make more sense.

There will be no follow-up to that AI-generated George Carlin comedy special released by the podcast Dudesy. In January, Carlin's estate filed a lawsuit against the podcast and its creators Will Sasso and Chad Kultgen, accusing them of violating the performer's right to publicity and infringing on a copyright. Now, the two sides have reached a settlement agreement, which includes the permanent removal of the comedy special from Dudesy's archive. Sasso and Kultgen have also agreed never to repost it on any platform and never to use Carlin's image, voice or likeness without approval from the estate again, according to The New York Times. 

The AI algorithm that Dudesy used for the special was trained on thousands of hours of Carlin's routines that spanned decades of his career. It generated enough material for an hour-long special, but it did a pretty poor impression of the late comedian with basic punchlines and very little of what characterized Carlin's humor. In a statement, Carlin's daughter Kelly called it a "poorly-executed facsimile cobbled together by unscrupulous individuals."

Josh Schiller, who represented the Carlin estate in court, told The Times that "[t]he world has begun to appreciate the power and potential dangers inherent in AI tools, which can mimic voices, generate fake photographs and alter video." He added that it's "not a problem that will go away by itself" and that it "must be confronted with swift, forceful action in the courts." The companies making AI software "must also bear some measure of accountability," the lawyer said. 

This lawsuit is just one of the many filed by creatives against AI companies and the people that use the technology by training algorithms on someone's work. Several non-fiction authors and novelists that include George R.R. Martin, John Grisham and Jodi Picoult sued OpenAI for using their work to train its large language models. The New York Times and a handful of other news organizations also sued the company for using their articles for training and for allegedly reproducing their content word-for-word without attribution. 

Open Roads is an easy game to get lost in. It tells a twisting tale about generational trauma — the tension, lies and love between mother and daughter — with all the comfort and warmth of an early 2000s network drama like Gilmore Girls or Charmed. As a former suburban teen myself, this game left me feeling equally exposed and understood.

Open Roads is set in 2003, and through environment and character design alone, it captures an authentic slice of life in this post-9/11, pre-Razr era. In the early aughts, I spent my teen years bouncing between Dad’s apartment on the outskirts of the city and Mom’s house in a dusty development site surrounded by grocery stores and Blockbuster Videos, and I had big dreams of escaping both. All this is to say, I relate to Open Roads' main character, Tess, who’s finishing up high school and planning a future in the hot new market of webpage design. Her parents are newly divorced and she’s been living with her mom, Opal, and grandma, Helen, outside of Detroit. Helen recently passed and her home is being sold against Opal’s wishes, so she and Tess are begrudgingly clearing it out and looking for a new place to stay.

Open Roads Team

The details of Tess’ family history are slowly exposed as she explores Grandma Helen’s home, told in old newspapers, photographs, books, postcards, heirlooms, phone calls and pottery-making materials. Tess and Opal eventually discover a suitcase hidden behind a false wall in the house, and it spurs them to embark on a road trip to long-lost locations from Opal’s past. Helen was a popular advice columnist and writer similar to Dear Abby, and her leftover letters, scattered around each environment, steadily peel back the layers of secrets that have enshrouded her, her daughter's and granddaughter's lives.

Every character in Open Roads has something to hide. I actually clocked the big twist about halfway through the game, but there was enough drama, doubt and emotional heft to keep me invested in the narrative regardless. Do yourself a favor and don’t look up any story spoilers — just enjoy the Open Roads ride.

Open Roads Team

This is exceedingly easy to do. Open Roads has expertly written dialogue, and its characters are infused with rich histories and complex motivations. The back and forth between Tess and Opal feels genuine for a teen daughter and her mother who’ve been trapped together in a car for hours on end: They quickly spark to anger and reconciliation, and just as easily act supremely silly around each other. A foundation of tenderness underlies their interactions. The voice acting, provided by mainstream television actors Keri Russell and Kaitlyn Dever, is superb, adding to the game’s immersive pull.

Open Roads uses a mix of 3D and 2D art — the backgrounds and interactable objects are 3D, while Tess and Opal are animated in hand-drawn 2D, moving in a floaty manner that reminds me of the early Disney classics. The styles work well together, for the most part. I found the visuals jarring in one section, when Tess and Opal were having a conversation in direct sunlight and the brightness of the scene made their 2D avatars look unfinished, unblended with the setting. Generally though, Open Roads is filled with engaging environments and beautiful details, with plenty of items to investigate and small puzzles to solve. The story unfurls naturally with every action prompt, and dialogue choices alter Tess and Opal’s trajectory throughout the game.

Open Roads Team

The sound design in Open Roads is particularly spectacular. Each object that Tess interacts with has a sound specific to its texture and weight. When Tess sets a cookie tin down on a kitchen countertop, it sounds like hollow metal scraping against wood; when she picks up a discarded cigar, the audio cues are soft and papery; Tess’ footsteps sound distinct on bare floorboards, carpet and rugs, with changes in density, bass and sharpness for each new material. Picking up Tess’ flip phone to text her BFF, I can hear the groaning of thick plastic hinges and the padded creaking as she rapidly presses down on the number pad. These sounds are crucial aspects of the game, louder than the bed of acoustic guitar or light synth that make up the soundtrack, and I’m entirely here for it. Open Roads is proof that ASMR exploration games should be a thing.

The features that will stick with me after finishing Open Roads are its sound design and its authenticity. There aren’t many games focused on the everyday lives and conversations of women, let alone mothers and daughters, and Open Roads is a testament to the power of these stories. The game oozes warmth and camaraderie, and its writing displays an abundance of respect toward the characters that drive its narrative. Every person with a voice in Open Roads is a woman, and Tess, Opal, Grandma Helen and Aunt August are each dynamic, sympathetic and flawed in unique ways. Considering the developers of this game broke free from a studio whose co-founder was reportedly hostile toward women, this accomplishment is even more significant.

My suggestion for fully enjoying Open Roads is to set aside a lazy afternoon, grab your favorite drink and some snacks, and make sure your headphones are on nice and tight. Turn up the volume so you can hear every plunk and tap of Tess’ world, and don’t try too hard to decipher the game’s secrets. Trust in the story and take it slow. This is a game worth savoring.

Open Roads is out now on consoles and PC, and it's part of the Xbox Game Pass library. It comes from Open Roads Team, published by Annapurna Interactive.

Waffle House is one of those uniquely American institutions-turned-meme. The 24/7 chain is not only a place where you can order a breakfast combo at 3AM, but where unruly customers have been known to show up ready to throw hands (and sometimes chairs). Given its notoriety for late-night brawls, it’s exactly the type of setting that would make for a perfect backdrop in a fighting game like Tekken 8 — and apparently, fans have been inquiring. Longtime Tekken director Katsuhiro Harada posted on X this weekend asking what the deal is with all the Waffle House requests.

Obviously, the question was posed in the days before April Fools’ Day, so I wouldn’t be surprised if there turned out to be some jest baked into it all. But now that we’re having the conversation…

“Ok, I will only ask once about this request,” Harada posted. “Why do some communities send me requests for ‘Waffle House’? Please be sure to explain the basis for the request, including the original story, history and background. I look forward to an explanation from someone who knows more.”

Harada followed it up with another post thanking everyone who explained it and saying he understands, but went on to say, “The restaurant has both the trademark and the rights to the restaurant, so if the restaurant chain's headquarters refuses to accept my proposal, it will not happen.” Waffle House now has an opportunity to do something pretty funny here.

But that shouldn’t come before Waffle House adequately addresses the concerns of its employees, some of whom have been vocal in the last year about low wages and a lack of security. Employees from some locations are on strike, and the Union of Southern Service Workers has put together a petition demanding Waffle House implement changes to improve working conditions. Until that's resolved, any collaboration with the fighting game would just be in poor taste. 

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. 

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.

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.”

This week, it’s all about cars and Lucy Liu in VR. Devindra chats with Senior Writer Sam Rutherford about his visit to the New York International Auto Show, where he saw the Polestar 4, a unique new EV without a rear window. Also, Cherlynn pops in to chat with Lucy Liu about her new VR game, The Pirate Queen. We also explore the issues around Florida’s bill banning young kids from social media sites, and Sam tells us why he likes Netflix’s Avatar: The Last Airbender adaptation.

Listen below or subscribe on your podcast app of choice. If you've got suggestions or topics you'd like covered on the show, be sure to email us or drop a note in the comments! And be sure to check out our other podcast, Engadget News!

Topics

• Sam Rutherford on what’s new in EVs and car tech from the New York Auto Show – 0:57

• Cherlynn Low interviews Lucy Liu about her new VR game The Pirate Queen – 34:39

• Florida Governor signs bill banning young children from social media – 54:55

• Intel confirms Copilot will eventually run locally – 58:33

• There’s finally a version of Chrome that runs well on ARM-based Windows machines – 1:02:43

• Canadian researchers have created a camera that takes 156.3 trillion frames per second – 1:05:06

• Working on – 1:07:08

• Pop culture picks – 1:12:44

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Credits 

Hosts: Devindra Hardawar and Sam Rutherford
Guest: Cherlynn Low and Lucy Liu
Producer: Ben Ellman
Music: Dale North and Terrence O'Brien