Spotify is testing a new feature called Discover that lets users scroll through a feed of vertical videos and skip or like them, much as you do on TikTok, TechCrunch has reported. The feature was spotted in the latest version of Spotify's beta iOS TestFlight build by Chris Messina, who tweeted that it appeared as a fourth icon in Spotify's iOS toolbar.
Discover looks to be a way for users to find new music in an intuitive, rapid way, by swiping up and down to move through the feed. You can tap on a heart to like the song, or hit the three-dot menu to bring up Spotify's standard information card about the song.
Not only that, @Spotify Discover is basically a pared down version of a TikTok-style feed of vertical music videos (likely using their canvas format) that you can like or skip.#NewSpotifypic.twitter.com/hpOEZ8v9bl
The format may use Spotify's Canvas format, Messina notes. That allows artists to create videos to go along with songs, rather than just static images, and appears on certain songs instead of the standard album art when you play a video. They can be in the form of standard video and mixed media, along with 2D and 3D graphics. In pitching the feature, Spotify tells artists that Canvas boosts key engagement metrics like sharing, adding to playlists and visiting profile pages.
Spotify confirmed to TechCrunch that it's testing the feature, but declined to share further details like how it would curate feeds. "At Spotify, we routinely conduct a number of tests in an effort to improve our user experience," a spokesperson said. "Some of those tests end up paving the way for our broader user experience and others serve only as an important learning. We don’t have any further news to share at this time."
Spotify is far from the first platform to flatter TikTok through imitation. Instagram's Reels and YouTube Shorts are virtual clones of TikTok, and even Netflix recently introduced a TikTok-like comedy feed called Fast Laughs. It's not clear yet if Spotify's discovery feature will make it out of beta, but it looks like a useful way to find new music.
It seems big changes are coming to Fortnitesoon. Chapter 2, which started all the way back in October 2019, will wrap up with a one-time-only in-game event called The End at 4PM ET on December 4th.
"With The Convergence complete, The Cube Queen prepares her endgame for the Island and nothing will ever be the same," Epic Games wrote in a blog post. "Grab your weapons and fight the ultimate destroyer of all reality."
The Chapter 1-closing event was also named The End and it blew up the original island in spectacular fashion. Fortnite was offline for a few days before Chapter 2 started with an entirely new map. Among other updates, Epic also brought in a fresh user interface and new mechanics in Chapter 2. Given that the publisher says players will battle The Cube Queen "in one last stand for the fate of the Island" and that nothing will seemingly be the same, it seems likely more major changes are coming to the battle royale in the near future.
If you have any Bars or Battle Stars, use them before the end of the season, since they won't carry over to Chapter 3. Starting on November 30th, character services and exotic item trades will be discounted in Bargain Bin Week. Fortnite will automatically redeem unused Battle Stars for the earliest available rewards. If you have any remaining quests you want to complete, now might be the time to do that.
Squads of up to 16 players will be able to experience The End together. The event playlist will open at 3:30PM, so it's probably worth joining early to secure a spot. Meanwhile, since Epic is ending the season a day earlier than planned, everyone who logs into Fortnite before it wraps up will receive a 225,000 XP bonus. Those who take part in the event will unlock a special Loading Screen and Wrap too.
We'll get into Russia's demands for big tech below, but first — ahead of a four-day weekend for some — let's talk about streaming shows.
You’ve probably noticed by now that we’ve got a reboot problem. Nothing epitomizes that better than the live-action series remake for beloved anime Cowboy Bebop. Senior Editor Devindra Hardawar puts it into words well: “Netflix's remix is mainly in love with Cowboy Bebop. It wants to remind us of the anime.” But in the effort to show its affection, it all rings a little hollow by comparison.
GEOFFREY SHORT/NETFLIX
Devindra even gets a little brutal, criticizing the times when the show “looks worse than a cheap Doctor Who episode.” I know exactly what he means.
Cowboy Bebop is now available to stream on Netflix.
Reviews Editor Cherlynn Low untangles the myriad versions of Android to offer some insight into what you might be getting with Google’s latest mobile OS, Android 12. The standout change is definitely a new design that can tease color palettes from your favorite images, but like its rival, iOS, there are bigger shifts in privacy and how your data is being used.
After doing the same for Disney, Spotify has launched a Netflix hub, bringing all of the streaming service's soundtracks, playlists and podcasts into one place. While many of Netflix's soundtracks were already on Spotify, the new feature puts all content related to the service in one place.
That includes playlists and soundtracks from series and films like La Casa de Papel, Narcos: Mexico, Outer Banks, Squid Game and, ahem, Cowboy Bebop.
Epic Games has acquired Harmonix, the studio behind titles like Guitar Hero, Rock Band, Dance Central and, more recently, Fuser. Epic’s vision for Harmonix involves the metaverse. In the immediate future, the two plan to create “musical journeys and gameplay for Fortnite.”
No word yet on how many millions of dollars the acquisition cost.
The feature was previously scheduled to arrive before the end of 2021.
In an update to the official iOS 15 website that was spotted by MacRumors, Apple says that functionality will now arrive sometime in early 2022. Apple first announced the feature at WWDC 2021, pitching it as a tool to allow you to add your driver’s license or state ID card to Apple Wallet, just like you would a credit or debit card. Among the first locations to support the feature will be select Transportation Security Administration (TSA) checkpoints at some US airports.
The government wants more control over Apple, Meta, TikTok and others.
Russia’s telecom regulator Roskomnadzor has called on 13 foreign and mostly American companies to launch official Russian presences by 2022 so they can comply with a law that took effect July 1st. The list includes familiar tech names, like Apple, Google, Meta (Facebook), Telegram, TikTok and Twitter.
The law demands local offices for "internet companies" with over 500,000 daily users. Some of the companies already have offices, though, and it's unclear just what constitutes an official presence. Those deemed violating the law could face complete bans or limits on their ads, data gathering and money transfers.
Cowboy Bebop was like nothing else when it premiered twenty years ago. It was a neo-Western set in space; a noir thriller alongside the spectacle of martial arts action and John Woo-esque shootouts; an existential vision of a broken future where characters were forced to live with their shattered pasts. And on top of all of that, it was propelled by an iconic soundtrack that easily danced between genres. We didn't have much time in the Bebop-verse — just 26 episodes and a movie — so every second felt like a miracle. How could a live-action Netflix adaptation live up to that?
Simply put, it doesn't. While the original show was a love letter to cinema and pop culture, crafted by a creative dream team (director Shinichiro Watanabe, writer Keiko Nobumoto and composer Yoko Kanno), Netflix's remix is mainly in love with Cowboy Bebop. It wants to remind us of the anime, so much so that it replicates many iconic sequences shot-for-shot, but it doesn't latch onto what made it so special. It hums the melody, but has no soul. It's a hollow tune that's common to nostalgia-focused reboots, like Star Wars: The Force Awakens and Ghostbusters: Afterlife, and it almost always holds them back.
By almost every measure, I should hate Netflix's Cowboy Bebop with a passion. But, it's a testament to the talented actors involved that I don't. John Cho wouldn't be my first choice to play the impossibly cool Spike Spiegel (that would be Sung Kang, Fast and Furious's swagger king Han), but he makes a serious effort to replicate his charm. Mustafa Shakir easily carries Jet Black's irascible yet lovable nature. And Daniella Pineda's Faye Valentine is an absolute scene stealer.
But this talented group is failed by a confounding production, which often looks worse than a cheap Doctor Who episode. Some sets appear to be made out of cardboard and spray paint, nothing conveys the lived-in aesthetic the anime captured so well. There are flashes of visual brilliance, to be clear, but that mainly comes from digital effects that often replicate shots from the original series. At times, Bebop wants to replicate the live-action cartoon aesthetic from the Wachowski's under-rated Speed Racer. Then, at other times, it will just have a bright neon "PORN" sign in the background, as if that's enough to convey the seediness of a neighborhood.
Geoffrey Short/Netflix
So where did everything start going wrong? As with most nostalgia reboots, it usually comes down to the writing. Netflix's Cowboy Bebop was developed by Christopher Yost (Thor: Ragnarok, Star Wars Rebels) and includes genre talents like Javier Grillo-Marxuach (Lost, Charmed). Their combined credits gave me hope that the show would be something more than a copycat of the anime, but instead it's a confusing mishmash of nostalgia worship and superfluous story additions.
Instead of being a mysterious cutthroat assassin, the villain Vicious comes across as a dull Eurotrash gangster. Instead of a haunting past based on the consequences of being overbearingly protective, Jet gets an estranged daughter and a ticked-off ex-wife. And perhaps most damningly, Spike's love interest Julia loses her mystique, and instead becomes another pretty damsel in distress. We've seen all of these storylines before, so instead of feeling like "a new genre unto itself," the bold proclamation the anime made in the middle of every episode, it all just feels like "been there, done that."
That's the same vibe I got while watching Ghostbusters: Afterlife. It starts out as an intriguing portrait of a struggling family, but eventually becomes bogged down by replicating almost every plot beat from the first Ghostbusters. It's still a fun and enjoyable film, but it's reverence for the past clearly prevented it from doing anything truly new. Watching that movie and Cowboy Bebop over the weekend made me genuinely worried about the future of pop culture. Are we just doomed to repeat the past, over and over again, to appease the fans?
Now, here's the thing: Despite all of the ways Cowboy Bebop fundamentally misunderstands its source material, it still ends up being a decently enjoyable sci-fi romp. And if you don't know what you're missing, it's easy to overlook the flaws as you soak in the talent of the cast, the strange yet familiar future filled with terraformed moons and planets, and the catchy Yoko Kanno tunes.
My one faint hope is that viewers who enjoy the live-action series will also check out the anime, which is also available on Netflix. I'm all for new viewers finding ways into existing properties. I just wish that didn't involve watering down classics to make them more palatable.
Epic Games has acquired Harmonix, the studio behind titles like Guitar Hero, Rock Band, Dance Central and more recently Fuser. Financial terms have not been disclosed. Epic’s vision for Harmonix involves the metaverse. In the immediate future, the two plan to create “musical journeys and gameplay for Fortnite.”
Turn your speakers UP! @Harmonix, the makers of interactive music experiences including @RockBand, are joining the Epic Games family! Together we will explore new ways for people to enjoy music across the digital world. 🎸🥁🔊 https://t.co/YLFBtYFKKn
Viewed through that lens, Epic’s interest in the studio makes a lot of sense. Outside of frequent brand collaborations, Fortnite is at this point best known for its virtual concerts. In the last two years, a handful of major artists like Ariana Grande and Travis Scott have drawn a lot of interest to the game. In the latter case, for example, more than 12.3 people watched Scott’s performance concurrently.
In the meantime, Harmonix says it will continue to support its existing slate of games. That means Rock Band players can continue to look forward to new DLC and Fuser players can expect the studio to continue hosting events. Additionally, any game that's currently available through Steam will continue to be sold through Valve's storefront.
After doing the same for Disney, Spotify has launched a Netflix hub bringing all of the streaming service's soundtracks, playlists and podcasts into one place. While many of Netflix's soundtracks were already on Spotify, the new feature puts all content related to the service in one place.
Spotify launched some special material for the hub as well, including an enhanced album for the western movie The Harder They Fall and a refreshed content destination for La Casa De Papel. The latter also features a mobile-only character matching experience putting together La Banda characters and soundtracks.
Feature-wise, the Netflix hub goes beyond what Spotify offered for Disney, though the latter's content is more iconic thanks to soundtracks from properties like Star Wars and Toy Story 4. In a case of reverse synergy, Netflix will soon release a Spotify drama focusing on co-founders Daniel Ek and Martin Lorentzon, based on the non-fiction book Spotify Untold.
"Why doesn't Kojima just make movies?" It's a rhetorical question fans of Hideo Kojima have asked after every game since Metal Gear Solid. For better or worse, no other creator in the gaming industry has pushed the medium closer to film than Kojima. And after hinting his studio could venture into filmmaking, it's doing precisely that.
Per GamesIndustry.Biz, Kojima Productions has established a division dedicated to music, TV and film that will operate out of Los Angeles. Riley Russell, a former Sony Interactive executive, will lead the unit as it attempts to expand the cultural footprint of Kojima Productions.
"The new division will be tasked with working with creative and talented professionals in television, music and film, as well as the more familiar games industry," Russell told the outlet. "The team has as its charter, the goal of expanding the reach and awareness of the properties now under development at Kojima Productions, and to make them even more a part of our popular culture."
It's not surprising to see Kojima Productions expand beyond games. Kojima is known for his film-like approach to making games, and if you follow him on Twitter, you'll know he frequently tweets about his favorite albums and movies. The question now becomes how the studio plans to handle the expansion. Since reforming in 2015, Kojima Productions has released one game. You can push that number to two if you count the recent Director's Cut release of Death Stranding as a separate title. What would a film adaptation of Death Stranding look like? For that matter, what would an adaptation of any Kojima game look like? We may just find out soon enough.
Blade Runner director Ridley Scott has confirmed that a TV show based on the sci-fi classic is in the works. The filmmaker also mentioned in an interview on BBC Radio 4's Todaythat work is progressing on the Alien series.
"We've already written the pilot for Blade Runner.. and Alien has now been written for pilot"
"We're already into having written the pilot for Blade Runner, and the bible," Scott said. "So already presenting Blade Runner as a TV show, which should probably be the first 10 hours, and then Alien is a similar thing. Alien is now being written for pilot." A bible is a plan that screenwriters or producers put together to detail the world of a TV show beyond what's in the scripts, including information about the characters and plot.
Scott didn't provide any insight about who's involved with the Blade Runner series or how it ties into his movie or the sequel, Blade Runner 2049, which was released in 2017. An anime spinoff, Blade Runner: Black Lotus, debuted on Adult Swim and Crunchyroll this month. In addition, Westwood’s classic 1997 adventure game Blade Runner is being remastered. So, Blade Runner fans have plenty to look forward to.
Meanwhile, the Alien series was announced last December. Noah Hawley — who adapted another popular movie, Fargo, for TV — is the showrunner of the upcoming FX show. The series won't premiere until at least 2023, unfortunately.
After its first serious foray into e-commerce this past summer, Twitter has started testing a new live shopping experience. The feature essentially allows users to both watch a broadcast and shop at the same time. The first live shopping stream will debut on November 28th at 7PM ET when Walmart hosts a Cyber Week-themed livestream with Jason Derulo. The songwriter will spend about 30 minutes talking about a variety of products, including electronics and home decor.
“Livestreaming on Twitter gives businesses the power to engage with their most influential fans, and adding the ability to shop into this experience is a natural extension to attracting and engaging with receptive audiences,” Twitter said of the feature.
Twitter has also started testing a “Shopping Manager” it says will help with the merchant onboarding experience. Additionally, the company is expanding the availability of the “Shop Module.” First announced in July, the tool allows brands and businesses to add a carousel to their profile that can highlight a selection of products. Over the coming weeks, the company says it will roll out the feature to more merchants in the US.
Compared to other social media platforms, Twitter has been slow to embrace and add e-commerce features. The fact the company is now adding a host of shopping features suggests it sees e-eommerce as a big part of its future.
Next year's Sundance Film Festival will mark a momentous return to Park City, Utah, after in-person festivities were cancelled last year. But Sundance isn't giving up on the digital platforms it used to stream films and bring cinephiles into a VR social hub last January. As part of its New Frontier exhibition, Sundance plans to expand The Spaceship, its virtual venue where attendees can chat together and explore VR and mixed reality art installations.
In an effort to connect Sundance's in-person attendees with its global online audience, the Festival will also launch a "Biodigital Bridge" in Park City. Shari Frilot, Sundance's Senior Programmer and Chief Curator of New Frontier, describes it as a human-scale screen where physical and digital attendees will be able to interact with each other. Developed together with the immersive studio Active Theory, the bridge will offer basic chat support, but it's mostly a way for Sundance-goers to see how other attendees enjoy the event.
Sundance New Frontier curator Shari Frilot.
Sundance Film Festival
Frilot says New Frontier has been pushing the concept of biodigital experiences for several years now, mostly through an exploration of how technology can intersect with our lives. Think of the way that an app like Uber, or even Google Maps, has reshaped the way we navigate physical spaces. But now that the pandemic has forced us to rely on our tech more than ever — Sundance wouldn't have been possible without it last year, after all — the term seems practically prescient. It's more than just a buzzword: Frilot says she's interested in exploring the technology that best serves humanity, or Team Human, as media theorist Douglas Rushkoff put it.
Last year, I found Sundance's online platform last year to be a fascinating way to explore the festival and interact with fans. The core of the experience is the aforementioned Spaceship, which allows attendees on computers and VR headsets to mull about together. On a laptop or desktop, it resembles a stripped down version of Second Life. You walk around as simplistic avatars, and if you choose, you can also flip on your webcam, which fills your avatar's head with a live video feed. Since Sundance's platform is built on WebXR, a way to deliver virtual reality over the web, you can enter that same space in VR by slipping on any headset and visiting Sundance's website.
Sundance Film Festival
Compared to SXSW's VR platform, which looked beautiful but mostly felt like a virtual wasteland, it was clear that Sundance got something right last year. After isolating for most of 2020, being able to see many of my cinephile friends in VR made last year's Sundance feel special. So for next year, Frilot says, the festival is going even further. The Spaceship will be upgraded with a new Cinema House, where attendees on computers and VR headsets can view events livestreamed from Park City, as well as room-scale discussions.
On the ground, Sundance will also have a new space called The Craft, which will let in-person attendees visit New Frontier exhibits, artist discussions and panels. There will also be VR headsets to use, though the festival is also encouraging people to bring their own gear if they've got it. Sundance hasn't finalized its list of New Frontier exhibits yet, but Frilot tells me many artists are optimizing for the Oculus Quest 2, so fest-goers can experience their work without being connected to a PC. But there will likely still be pieces that demand a serious VR rig. Sundance's famed Egyptian theater will also host some New Frontier performances, which will occur both on the ground and virtually on the Spaceship.
You'll need a $50 Sundance Explorer Pass to access all of these virtual goodies, which is double what it cost last year. It's a shame to see the price jump so quickly, but it's also reflective of the deeper commitment the festival is making in its digital platforms. Notably, the Explorer Pass is also open to people around the world, whereas Sundance's virtual screenings are limited to U.S. attendees.
"[The virtual platform] is not just this thing that we're trying, we're actually doubling down on this," Frilot says. "This points to the vital landscape of how cinema and storytelling is going to manifest [going forward]. We're here to not only contribute to it, but to meet it and support it."
