Meta is introducing one of its most significant privacy updates yet related to teen user protection, the company announced today. They greatly expand on previous content control measures aiming to lock down teens' privacy settings, following recent lawsuits by US states and others.

The new measures will hide content related to self-harm, graphic violence, eating disorders and other harmful topics from teens on Instagram and Facebook. Related content will now be restricted from users under 16 in their Feeds and Stories, even if it's shared by an account they follow. When teens search for those topics, they'll instead by directed to "expert resources." The company said it consulted with experts in adolescent development to determine what type of content to block. 

In addition, Meta will be automatically placing existing teen users into the most restrictive control settings, expanding on a previous update that placed only new users into that category. Those users will be unable to opt out of those settings, called "Sensitive Content Control" on Instagram and "Reduce" on Facebook.

The social media giant is also introducing notifications with prompts that direct teens to update their privacy to "turn on recommended settings." That will automatically restrict who can repost their content and tag or mention them. It'll also stop non-followers from messaging teen users and hide offensive comments.

It's the latest in a series of privacy updates designed to protect teens using Meta products. In 2022, the company introduced measures to switch users under 16 to the most restrictive content settings and added a new feature to prevent "suspicious" adults from messaging teens on Facebook and Instagram. More recently, it limited ads targeting teens based on gender.  

Today's update more significantly limits what youths can access, though, following a series of recent lawsuits against the platform. Those include a complaint filed by 41 states accusing Meta of harming the mental health of its youngest users, another filed by Seattle schools over a youth "mental health crisis" and a recent ruling that social media companies will be forced to defend teen addiction lawsuits. 

Another recently unsealed complaint filed by 33 states alleges that Meta "coveted and pursued" users under the age of 13 and has been dishonest about how it handles underage users' accounts when they're discovered. 

OpenAI and its biggest backer, Microsoft, are facing several lawsuits accusing them of using other people's copyrighted works without permission to train the former's large language models (LLMs). And based on what OpenAI told the House of Lords Communications and Digital Select Committee, we might see more lawsuits against the companies in the future. It would be "impossible to train today's leading AI models without using copyrighted materials," OpenAI wrote in its written evidence (PDF) submission for the committee's inquiry into LLMs, as first reported by the The Guardian.

The company explained that it's because copyright today "covers virtually every sort of human expression — including blog posts, photographs, forum posts, scraps of software code, and government documents." It added that "[l]imiting training data to public domain books and drawings created more than a century ago might yield an interesting experiment, but would not provide AI systems that meet the needs of today's citizens." OpenAI also insisted that it complies with copyright laws when it trains its models. In a new post on its blog made in response to the The New York Times' lawsuit, it said the use of publicly available internet materials to train AI falls under fair use doctrine. 

It admitted, however, that there is "still work to be done to support and empower creators." The company talked about the ways it's allowing publishers to block the GPTBot web crawler from being able to access their websites. It also said that it's developing additional mechanisms allowing rightsholders to opt out of training and that it's engaging with them to find mutually beneficial agreements. 

In some of the lawsuits filed against OpenAI and Microsoft, the plaintiffs accuse the companies of refusing to pay authors for their work while building a billion-dollar industry and enjoying enormous financial gain from copyrighted materials. The more recent case filed by a couple of non-fiction authors argued that the companies could've explored alternative financing options, such as profit sharing, but have "decided to steal" instead.

OpenAI didn't address those particular lawsuits, but it did provide a direct answer to The New York Times' complaint that accuses it of using its published news articles without permission. The publication isn't telling the full story, it said. It was already negotiating with The Times regarding a "high-value partnership" that would give it access to the publication's reporting. The two parties were apparently still in touch until December 19, and OpenAI only found out about the lawsuit on December by reading about it on The Times.

In the complaint filed by the newspaper, it cited instances of ChatGPT providing users with "near-verbatim excerpts" from paywalled articles. OpenAI accused the publication of intentionally manipulating prompts, such as including lengthy excerpts of articles in its interaction with the chatbot to get it to regurgitate content. It's also accusing The Times of cherry picking examples from many attempts. OpenAI said the lawsuit filed by The Times has no merit, but it's still hopeful for a "constructive partnership" with the publication. 

If you’ve ever wanted to turn your car into a DJ, with the sound controlled by how you drive, then you need to buy a Benz, stat. Mercedes-AMG and will.i.am have turned up at CES 2024 in Las Vegas with what they’re calling MBUX SOUND DRIVE (all caps, as if to be bellowed). Sadly, it’s hard to talk about what it is and what it does without robbing it of its mystery, so apologies in advance: It’s essentially a system that pulls data from the car’s suite of sensors, which then helps control a specially-deconstructed music file. But, as joyless as that description sounds, once you’ve experienced it, you’ll wonder why it hasn’t been done before. Not to mention that, at the risk of gushing, it really does deepen the emotional connection between driving and the music you’re listening to.

The announcement came as part of Mercedes’ CES push, which this year is focused on the power of its audio setup. Alongside the announcement of MBUX SOUND DRIVE, it’s boasting of a new partnership with Amazon Music and Audible. That’ll see Dolby Atmos versions of its exclusive audio dramas, podcasts and books come to compatible vehicles. (The highlight of the event was when legendary British audio producer Dirk Maggs took to the stage, the figure responsible for the latter radio versions of The Hitchhikers Guide to the Galaxy.)

MBUX SOUND DRIVE works by pairing musical elements in a song with ten inputs taken from the car. Start the car and all you get is the track’s bed, so to speak, looping in the background waiting for you to get moving. Push on the accelerator at low speeds and it’ll add some bass reverb to the song, while turning the steering wheel gets you extra effects or the chorus loop kicking in. It’s only when you open the car up on a clear highway and the main music and lyrics will start blasting, rewarding you for moving along. And then, when you’re coasting toward a stop light, the lead vocal and melody will peel away, returning you to the far less intrusive backing track.

If nothing else, it’s a spectacular piece of hardware and software development, given the fact even the fanciest in-car platform wasn’t designed to do this. It’s worth pointing out the extent of the achievement that’s enabled something like this to happen on an existing system. And there are plans to extend it further so, for instance, if the windshield wipers detect rain, the music will change to reflect the mood.

The demo I experienced had 16 tracks pre-loaded, including The Black Eyed Peas’ I Got A Feeling and Le French’s Night Drive. These songs have all been broken down and rebuilt to take advantage of MBUX SOUND DRIVE’s separated format. When you’re just cruising around a Las Vegas parking lot, it’s all pretty restrained, even if you do put some heavy reverb on while you’re parked. In fact, the whole experience at slow speeds could almost be described as teasing, offering you hints of the song you know and love, but never giving you the whole thing.

It’s only when you (or in this case, your qualified driver) puts their foot down and you suddenly start screaming down the road that the whole song kicks in. Even a song like I Got A Feeling, hardly the most bombastic, suddenly feels epic in this format. The closest thing I can compare it to is those moments in Grand Theft Auto when you’re opening it up on the highway and a great track kicks in. Of course, the best example of that would be cruising down the road while David Bowie’s Somebody Up There Likes Me plays. But, despite will.i.am’s promises that when the system arrives halfway through 2024 all genres will be well-represented, I’m not so sure. After all, it’s clear that tracks primarily based on discrete loops are going to be the easiest to translate and the most well-suited to the environment.

In terms of the future, will.i.am shared his hopes that tracks could be hard-coded to reflect a geography. He used the example of a car going through a tunnel, which would prompt a gas car driver to put their foot down to fill the space with engine noise. But in our electric future, where there is no engine noise, users will instead have to content themselves with the jolt from their favourite song. He added that he also dreams of building in easter eggs for songs, which would only start playing when the car reaches a specific location. On one hand, I’m curious how many musicians would take the time to remix their existing songs for the size of the addressable market. Which, in this case, is only Mercedes-Benz vehicles equipped with a second-generation MBUX system. Then again, money talks.

We're reporting live from CES 2024 in Las Vegas from January 6-12. Keep up with all the latest news from the show here.

The 2024 Golden Globes represented a return to normalcy after a year dominated by strikes in the entertainment industry. Streamers continued to get recognition for their shows, with Netflix, Hulu and Max picking up a combined 12 television awards.

Max (formerly HBO Max) won the most awards, garnering four for the final season of Succession, including best drama television series. Best performance by an actress and actor in that category went to Sarah Snook and Kieran Culkin, who played siblings Roman and Shiv Roy on the series. Matthew Macfayden rounded out Succession's wins by taking home the award for best performance by an actor in a supporting role on television. Succession is available to stream through Max but was viewable direct on TV through HBO.

Netflix won for a range of shows, such as The Crown, which premiered its final season at the end of the year. The Crown actress Elizabeth Debecki took home the award for best performance by an actress in a supporting role on television for her portrayal of Princess Diana. Ricky Gervais won best performance in standup comedy on television for Ricky Gervais: Armageddon. Beef took home three awards, winning for best performances by an actress (Ali Wong) and actor (Steven Yeun) in a limited series, anthology series or series made for television. It also won for best overall in that category. The show was mired in controversy due to the casting of (and silence around) actor David Choe, who previously shared stories describing alleged sexual assaults.

Hulu's three awards came courtesy of FX-produced The Bear, which won for best musical or comedy television series. The show's lead actors, Ayo Edebiri and Jeremy Allen White, took home the best performance in a musical or comedy television series by an actress and actor awards, respectively.

In November, a group of non-fiction authors filed a lawsuit accusing OpenAI and Microsoft of using other people's intellectual property without permission to train the former's generative AI technology. Now, more non-fiction writers are suing the companies for using their work to train OpenAI's GPT large language models (LLM). Journalists Nicholas A. Basbanes and Nicholas Gage are accusing the defendants of "massive and deliberate theft of copyrighted works" by writers like them in a proposed class action lawsuit. 

Professional writers "have limited capital to fund their research" and "typically self-fund their projects," they said in their complaint. Meanwhile, the defendants have "ready access to billions in capital" and "simply stole" the plaintiffs' "copyrighted works to build another billion+ dollar commercial industry," they allege. Using copyrighted works is a "deliberate strategy" by the companies, the complaint reads, and not paying writers give the defendants "an even higher profit margin." The plaintiffs added that the companies could've explored alternative financing options, such as profit sharing, but have "decided to steal" instead. 

Basbanes and Gage are seeking "to represent a class of writers whose copyrighted work has been systematically pilfered" by the defendants. They're seeking up to $150,000 per infringed work in damages, as well as a permanent injunction "to prevent these harms from recurring." Basbanes is a "renowned authority on the history of books and book culture." Gage, according to the CNBC, had previously worked for the Times and The Wall Street Journal.

OpenAI is contending with a growing list of lawsuits filed by creatives accusing it of using their work without permission to train its LLMs, including one by fiction authors George R.R. Martin, John Grisham and Jodi Picoult. In late December 2023, The New York Times sued the company and its biggest backer, Microsoft, for using the newspaper's articles for AI training. An OpenAI representative told us at the time that both parties were engaged in "productive conversations" and that the lawsuit was unexpected.

Set your calendars. Martin Scorsese’s latest and greatest, Killers of the Flower Moon, is premiering globally on Apple TV+ in just over a week. The film drops on January 12. It was originally released in theaters on November 20, which means it’ll be 12 weeks before arriving on a streaming service, which has become fairly standard in recent years.

We knew this would drop on Apple TV+, as Apple Studios financed the film and arranged for theatrical distribution. We just didn’t know when, and now we do. Incidentally, this is the first Apple-financed film to get a wide theatrical release.

Killers of the Flower Moon is a great match for streaming, as it's well over three hours long, which made for some frantic trips to the theater bathroom once the credits rolled. The movie stars Lily Gladstone, Leonardo DiCaprio, Robert De Niro and Jesse Plemons and is set in 1920s Oklahoma. The narrative is based on a true story and follows the serial murders of members of the Osage Nation tribe. There’s a lot more than that, but we ain’t about to start handing out spoilers like candy. Watch the movie. It’s good.

To that end, Killers of the Flower Moon has been nabbing up award nominations left and right, including 12 Critics Choice nominations and seven Golden Globe nominations. It was also named to the American Film Institute's list of Motion Pictures of the Year. Oscar nominations don’t drop until later this month, but it’s likely to make several appearances across multiple categories.

This is the biggest film to come from Apple Studios, but not the only notable release. Coda, another Apple original, actually won Best Picture at the 2021 Academy Awards. Apple is also behind Ridley Scott’s Napoleon and forthcoming releases by directors Jon Watts and Matthew Vaughn, among others.

Apple Fitness+ is adding new content for the new year. The workout service’s Artist Spotlight series celebrates the Super Bowl halftime show with playlists devoted to recent performers (including this year’s artist, Usher). In addition, new meditations, programs and Time to Walk episodes will arrive soon.

The Apple Fitness+ Artist Spotlight series dedicates entire workout playlists (across various exercises) to a single artist. In this case, it will devote them to several: Rihanna (available January 8), Britney Spears (January 15), U2 (January 22) and Usher (February 5, ahead of his performance).

Three of the four artists have been (or soon will be) Super Bowl halftime headliners: Rihanna in 2023, U2 in 2002 and Usher in 2024. Spears hasn’t had top billing, but she performed in the 2001 show, co-headlined by Aerosmith and NSYNC.

Fitness+ is also adding sound meditations. Apple says they’ll only include “light guidance” from the trainer, leaving room for you to focus on the “tranquil sounds of singing bowls and the deep pitch of gongs, all arranged to create a sense of ease.” There will be seven sound-themed meditations, arriving every week. You can choose between five, 10, and 20-minute sessions.

NBC via Getty Images

Time to Walk, Apple’s series of celebrity-guided audio walking experiences, is adding Al Roker. The Today Show weather anchor and co-host will share what he learned about mentorship, including a pivotal chat with his father. Other episodes will feature rapper and actor Common (who already works with Apple on the sci-fi series Silo), Trixie Mattel (aka Brian Firkus, RuPaul’s Drag Race), actor Colman Domingo (Rustin) and author / actor Lilly Singh will host episodes.

50 of Apple’s older Time to Walk episodes will be available on Apple Podcasts. Celebrity guests on the available content will include Prince William, Al Roker (again!), Patti LaBelle, Becky G, Simu Liu, Malala Yousafzai, Camila Cabello, Dolly Parton, Jason Segel and Shawn Mendes. Although the podcast version will omit guest-chosen songs and photos, you can still access those through the Fitness+ app. In addition, anyone who isn’t subscribed to Fitness+ can listen to 10 free Time to Walk episodes on Apple Podcasts.

Golfers will get some love from the service, too. Apple is adding a new workout program designed for links enthusiasts. The workouts will blend strength, core, and yoga training, focused on the specific strength, balance, flexibility and mobility golfers need. The workouts will feature (and were designed by) pro golfer Rose Zhang. “Whether people are new to the sport or want to advance their skills, I’m excited that the workouts in this program on Fitness+ will help users feel more confident in their swing and have fun on the course,” Zhang said. Fitness+ trainer Kyle Ardill will lead the videos.

Apple has partnered with Anytime Fitness, a US gym franchise, to offer perks to use both companies’ services. First, “prospective members” who try Anytime Fitness will get “up to three months” of Apple Fitness+ for free. In addition, Fitness+ subscribers who join the gym and sign up for at least a 12-month membership will get their first 30 days for no charge. The Anytime Fitness app on iOS will also integrate with Apple Fitness+ workouts.

Apart from the Artist Spotlight rollouts, Apple hasn’t shared specific launch dates for the new content. However, it said the new features will arrive “starting Monday, January 8.”

Tetris is one of the most popular and enduring video games of all time, with versions on just about every console, computer and gadget. Many of these iterations have endings baked into story modes and the like, but the original endless mode was considered unbeatable by humans, until now. A 13-year-old boy has become the first person to ‘beat’ the NES version of Tetris, 34 years after it originally released back in 1989, as announced by YouTuber aGameScout.

The reason we put ‘beat’ in quotes is due to the nature of the achievement. Oklahoma teenager Willis Gibson, also known as Blue Scuti on YouTube, didn’t access an authorized ending, as there isn’t one. Instead, he played the game so perfectly for so long that it forced a kill screen that crashed the game. These kill screens are usually caused by an overflow error that occurs when you speed the game up so much that the software can’t keep up.

The teen achieved this feat after 38 minutes of gameplay and captured the moment on video. He’s the first person to do this, but not the first, uh, entity. An AI program called StackRabbit forced a kill screen with the NES Tetris back in 2021. Score one for the humans!

This was done by incorporating a gameplay style called the rolling technique, which has players glide their fingers along the bottom of an NES controller and use that momentum to roll the controller into the other hand. When done correctly, you can hit the D-pad up to 20 times per second. The method revolutionized competitive Tetris play a couple of years back. Prior to this achievement, the 13-year-old had already broken the game’s high score record, level achieved record and the total number of lines cleared by using the rolling technique.

Gibson, aka Blue Scudi, told another YouTuber that he’s dedicating the achievement to his late father, who recently passed away in December. He also said that the gameplay session was so frantic that he couldn’t feel his fingers afterwards.

Achieving the mythical kill screen is something of a rite of passage for old-school games. If you’ve seen the documentary King of Kong, involving the arcade cabinet Donkey Kong, you know just how competitive it can be to snag those bragging rights. Players have hit the kill screen on Pac-Man, Dig Dug, Duck Hunt, and many others.

Jack Black is reportedly set to play Minecraft Steve. Deadline wrote on Tuesday that the School of Rock actor will play the game’s blocky protagonist alongside Jason Momoa in the game’s long-delayed film adaptation.

The Minecraft adaptation has been in development since 2014. It’s cycled through at least three previous directors (Shawn Levy, Rob McElhenney and Peter Sollett) and two missed release windows (2019 and 2022). Its current target date is April 4, 2025.

The writers for the project’s current iteration haven’t yet been revealed. However, adapting the sandbox building game into a plot-driven Hollywood blockbuster will allow for (and probably require) ample creativity from its scribes. A plot synopsis published in 2019 (which may or may not still apply) describes the film as following “a teenage girl and her unlikely group of adventurers. After the malevolent Ender Dragon sets out on a path of destruction, they must save their beautiful, blocky Overworld.”

Mojang / Microsoft

Black is fresh off a beloved performance as Bowser in The Super Mario Bros. Movie, where he showed the effectiveness of his larger-than-life comedic presence in gaming adaptations. IGN even noted that both of Black’s gaming roles — Bowser and Steve — appeared in Super Smash Bros. Ultimate.

Napoleon Dynamite creator (and Black collaborator on Nacho Libre) Jared Hess will direct. Deadline says production will start soon on the film, which hails from Warner Bros, Vertigo, Legendary, Mojang / Microsoft and On the Roam. Emma Myers, Danielle Brooks and Sebastian Eugene Hansen have signed on to join Black and Momoa in the cast.

The developers of Tekken 8 are boosting the upcoming game's accessibility with color blind options, but some experts and users say some of the settings may cause more harm than good. One filter in particular that displays horizontal and vertical black and white lines appears to be causing headaches and vertigo, and may even "hospitalize players (or worse), in the same way as the infamous Pokémon episode," said gaming accessibility specialist Ian Hamilton in a post on X. (We have embedded a still from the game at the bottom of the article. Viewer discretion is advised.)

The various filters were posted by X user @itwhiffed, who said "why is no one talking about the color blind accessibility of Tekken 8." His post thread shows multiple filters for red, green and blue blindness, with different strength settings for each. However, one set of filters also shows characters as vertical and horizontal lines, with different white or black backgrounds. 

"Accessibility folks, please stop directly sharing the tweet showing Tekken characters as striped lines," said EA's senior GM for accessibility, James Berg. "The video autoplaying is giving folks migraines. Due to it having parallel lines moving unpredictably, covering much of the screen, I'd expect it's doing worse as well." 

He went on to add that "patterns of lines moving on a screen creates a contiguous area of high-frequency flashing, like an invisible strobe... [and] human meat-motors aren't big fans of that." That was verified by some users on X, with one saying the filter "gave me instant vertigo just from a 2-3 second clip that accidentally saw." Tara Wake Voelker, Xbox Game Studios accessibility lead, meanwhile, suggested the Tekken 8 team use EA's photosensitive epilepsy safety testing tool. 

Tekken's director Katsuhiro Harada responded to the outcry, saying "a few people, albeit very few, have either misunderstood the accessibility options we are trying, or have only seen the video without actually trying them out in the demo play." 

He added that the game features "multiple types of color vision options" for players with color blindness, not just one pattern, and that there is "quite a range of adjustment." He also noted that the feature received positive feedback from many demo play participants. 

"The intent here is fantastic — it's great to see Tekken becoming more accessible," said Berg. "Please take the advice from Ian and Tara's posts. We all want to see this succeed." Harada and the Tekken 8 team still have time to do that, as the game is due out on January 26th. 

Bandai Namco