The Hogwarts sports game Harry Potter: Quidditch Champions now has a release date. The multiplayer title, announced last year, will arrive on PC and consoles on September 3.

The game, a companion to last year’s Hogwarts Legacy, is “a complete, standalone Quidditch experience” that “engages players in the sport of Quidditch and other broomstick adventures alongside friends in a competitive, multiplayer setting.” The game is developed by Unbroken Studios, known for supporting work on Suicide Squad: Kill the Justice League, and published by WB Games.

Harry Potter: Quidditch Champions will be available on PS5 / PS4, Switch, Xbox Series X / S, Xbox One and PC. You’ll need an online connection to play.

You can check out the release date trailer below. It showcases familiar Harry Potter characters, from Harry, Ron, Hermione and the Weasley twins to smaller roles like Viktor Krum:

Catch up on all of the news from Summer Game Fest 2024 right here!

The classic movie 12 Angry Men is titled as such because, well, it's about a jury comprised of 12 men. But viewers have noticed recently that the image Amazon uses for the movie has more than 12 characters in it. Further, their melting, inhuman faces look like they could be somebody's sleep paralysis monsters. The terrifying quality to the characters' faces is just one of the elements indicating the use of AI to generate the image. Their deformed and claw-like hands are another, along with the other obvious AI artifacts in the photo. 

Upon checking, Amazon didn't use the AI-generated image for the Prime Video version of the classic film. Some viewers pointed out that one could only see the AI version of the film's poster on Freevee, Amazon's free ad-supported streaming service. According to AV Club, the company used a different poster on Freevee due to licensing issues. Apparently, Freevee got its license to stream 12 Angry Men from a third party, which also provided images for the film. It's not quite clear why the third party didn't provide any of the film's official posters for use, but Freevee is reportedly working to get the AI-generated one replaced. 

Viewers also previously called out Amazon for using what looked like AI images to tease its Fallout TV show. Seeing as the use of generative AI could potentially save companies money — and they are, as we all know, driven by profit — we may have to get used to seeing TV and film posters and marketing materials that range from odd to nightmare fuel and beyond.

Because there simply aren’t enough AI-powered chatbots out there, we’re getting one more. This one, called AI Chat, comes courtesy of DuckDuckGo, the privacy-focused search engine that obviously doesn’t want to feel left behind in the AI arms race. The company has been testing AI Chat over the last few months, but as of today, it’s available to everyone.

Unlike other standalone bots like Google’s Gemini and OpenAI’s ChatGPT that are powered by their own large language models, DuckDuckGo’s AI Chat is not. Instead, think of it as a way to access multiple chatbots in a single place. Right now, AI chat will let you choose between OpenAI’s GPT 3.5, Anthropic’s Claude 3 Haiku, Meta’s Llama 3 and Mistral’s Mistral 8x7B, and the company says that more models are coming soon. The main differences between them largely boil down to how many parameters — technical speak for the settings that a large language model can tweak to give you an answer — each one has. If you don’t like a model’s answer, you can try another one. 

AI Chat is free to use but is capped with the daily limit. The company said that it’s exploring a paid plan that will give access to higher limits as well as more advanced AI models. DuckDuckGo said that you can use AI Chat to ask questions, draft emails, write code, and create travel itineraries among other things, but it doesn't generate images yet.

Not surprisingly, DuckDuckGo is stressing how private using AI Chat is compared to just using ChatGPT or Claude on their own. The company claims that your questions and the generated answers won’t be used for training AI models. "[We] call the underlying chat models on your behalf, removing your IP address completely and using our IP address instead,” wrote Nirzar Pangarkar, DuckDuckGo’s lead designer in a blog post. “This way it looks like the requests are coming from us and not you.” And if you’d rather not deal with a chatbot when you’re just trying to search anonymously, DuckDuckGo lets you easily turn the feature off.

AI Chats is separate from DuckAssist, another AI-powered feature that DuckDuckGo added last year that provides AI-generated summaries at the top of search results. It’s just like Google’s AI Overviews, the controversial new feature that recently told people to eat rocks and put glue on their pizza, except that DuckAssist sticks to reliable sources like Wikipedia to generate its responses. DuckDuckGo thinks that AI Chat and DuckAssist are complementary. “If you start with Search, you may want to switch to AI Chat for follow-up queries to help make sense of what you’ve read, or for quick, direct answers to new questions that weren’t covered in the web pages you saw,” wrote Pangarkar. “It’s all down to your personal preference.”

Somehow, it's already been almost a year and a half since the first season of The Last of Us arrived on HBO. Things are well underway with the second season, and we've known for a while that it won't premiere until 2025. We still don't know exactly when to expect it (though given that they're well into shooting, an early-year debut isn't out of the question), but we do now know that season two will only have seven episodes.

In an extensive interview with Deadline, showrunners Craig Mazin and Neil Druckmann (director of the two The Last of Us games that Naughty Dog has released for various PlayStation consoles) confirmed the shorter season. "The story material that we got from Part II of the game is way more than the story material that was in the first game, so part of what we had to do from the start was figure out how to tell that story across seasons,” Mazin said to Deadline. “When you do that, you look for natural breakpoints, and as we laid it out, this season, the national breakpoint felt like it came after seven episodes.”

That said, Mazin said that season three will likely be "significantly larger" — we don't know if that's from a scope perspective or running time perspective, but it's an interesting thing to broadcast given that we're still six months minimum away from season two premiering. And Deadline also confirmed that season two will have at least one extra-long episode, much like the 90-minute series premiere and the 70-plus minute episode focused on Bill and Frank in season one.

We've known for a while that Mazin and Druckmann were going to spread The Last of Us Part II over multiple seasons, but it even sounds like the story could spin into a forth season. "We feel like it’s almost assuredly going to be the case that — as long as people keep watching and we can keep making more television — Season 3 will be significantly larger. And indeed, the story may require Season 4," Mazin said. 

While the plotting of The Last of Us Part II was fairly involved, with lots of flashbacks and multiple points of view, stretching it over three seasons seems like a bit much. But based on this interview, it sounds like Mazin and Druckmann have figured out exactly where they want each season to begin and end and what story beats it'll cover. Of course, the show hasn't yet even been renewed for season three yet, so all this is contingent upon continued success. Given that season one was one of HBO's biggest ever, that probably won't be an issue.

HBO

Finally, Deadline dropped a surprising tidbit about a potential third game in the series — specifically, it's still unknown if one will happen. Indeed, the publication says that "a new installment has not been picked up or put into development." That's a very strong statement, albeit one that isn't sourced directly from a quote or given any real attribution. If true, it means a third The Last of Us game could easily be more than five years away, if it ever happens. 

Druckmann did confirm that the show won't go beyond the what has been portrayed in the video games, unlike the HBO Game of Thrones series infamously moving beyond the novels it was based on (not that they had much of a choice). "As a fan, I’m thrilled that there might be a third Last of Us game," Mazin said. "As the co-creator of this television show, there’s no world where I would want our show to go beyond the source material that people have in the world." 

Hopefuly, Deadline just has its lines crossed about a potential third game — with Summer Games Fest just days away, there's a lot of buzz around what Sony's first-party studios, including Naughty Dog, might be planning to announce. The last bit of concrete news we got around the game series was that the planned multiplayer game set in the Last of Us universe was canceled.

The Bitzee virtual pet line is expanding to bring some familiar characters into the family, plus some all new ones. Spin Master, which introduced Bitzee to the US last summer, is now gearing up to release two new versions of the device later this year: Bitzee Disney and Bitzee Magicals. The former will feature 30 characters from the Disney/Pixar universe, including Stitch, Olaf, Nemo and Dory, Remy, Mike Wazowski and Sully, and Heihei. 

Unlike most digital pet toys, Bitzee doesn’t have a screen. Instead, it functions almost like a pettable hologram in a box, with movement-based controls and a flapping flexible display that allows the player to physically interact with the character. You can run your finger along the top of the display to pet the creature that’s being projected, for example, or rock the little box from side to side to put it to bed. There's also a small swipe bar that serves as a way to navigate the menu of activities. 

On top of mini-games and caretaking tasks, there will be a replayable animation representing a memorable movie moment for each of the characters featured in Bitzee Disney. (Dory from Finding Nemo greets you by speaking whale.) Bitzee Magicals, on the other hand, will introduce entirely new characters, including some adorable cryptid-inspired creatures like a Yeti, Nessie and two versions of a Jackalope. Bitzee Magicals also mixes things up a bit with the addition of a magic wand feature that might, say, temporarily turn your pet into a duck on a skateboard. It’s pretty cute. You’ll also be able to change your pets’ colors by collecting potions.

Spin Master

Bitzee is a pretty low-stakes virtual pet game; if you forget about your pets for a while or just don’t do a great job of taking care of them, they’re not going to die on you. This makes them particularly good for kids who might not be ready yet for a virtual pet as demanding as a Tamagotchi, but also for adults who just like to have something on their desk that they can fidget with here and there. Just close the box, and the pet will go into sleep mode. 

Bitzee Disney is available to pre-order for $35 on Amazon today, while pre-orders for Bitzee Magicals ($30) will open on July 1. Both are slated to ship in the fall.

Ferras Hamad, who used to be an engineer working with Meta's machine learning team, has accused the company of firing him over his handling of Palestine-related Instagram posts in a lawsuit. According to Reuters, he is accusing the company of discrimination, wrongful termination and showing a pattern of bias against Palestinians. Hamad said he noted procedural irregularities on how the company handled restrictions on content from Palestinian Instagram personalities, which prevented them from appearing in feeds and searches. One particular case that involved a short video showing a destroyed building in Gaza seemingly led to his dismissal in February. 

Hamad discovered that the video, which was taken by Palestinian photojournalist Motaz Azaiza, was misclassified as pornographic. He said he received conflicting guidance on whether he was authorized to help resolve the issue but was eventually told in writing that helping troubleshoot it was part of his tasks. A month later, though, Hamad was reportedly notified that he was the subject of an investigation. He filed an internal discrimination complaint in response, but he was fired days later and was told that it was because he violated a policy that prohibits employees from working on issues involving accounts of people they personally know. Hamad, who is Palestinian-American, has denied that he personally knew Azaiza. 

In addition to detailing the events that led to his firing in the lawsuit, Hamad also accused the company of deleting internal communication between employees talking about deaths of their relatives in Gaza. Employees that use the Palestinian flag emoji were investigated, as well, whereas those who've previously posted the Israeli or the Ukrainian flags in similar contexts weren't subjected to the same scrutiny. 

Meta has been accused of suppressing posts that support Palestine even before the October 7 Hamas attacks against Israel. Late last year, Senator Elizabeth Warren wrote Mark Zuckerberg a letter raising concerns about how numerous Instagram users were accusing the company of "shadowbanning" them for posting about the conditions in Gaza. Meta's Oversight Board ruled last year that the company's tools mistakenly removed a video posted on Instagram showing the aftermath of a strike on the Al-Shifa Hospital in Gaza during Israel’s ground offensive. More recently, the board opened an investigation to review cases involving Facebook posts that used the phrase "from the river to the sea." We've asked Meta for a statement on Hamad's lawsuit, and we'll update this post when we hear back.

Australia's independent regulator for online safety has ended its bid to remove a violent video from X (formerly Twitter). 

On April 15, a clergyman was stabbed in Sydney, Australia, and, like some other horrific incidents these days, it was broadcast online. Australia's national regulator, eSafety, requested that all social media platforms take down the video. While eSafety claims Meta, Google, TikTok and more removed it, X only stopped Australian viewers from accessing the video — something a VPN can easily circumvent. When eSafety pushed for it to be fully taken down, X's CEO Elon Musk called the request an assault on free speech and argued that one country's laws couldn't control the entire world, The Register reported.

Despite dropping the fight against X, eSafety further reiterated their frustrations. "Our sole goal and focus in issuing our removal notice was to prevent this extremely violent footage from going viral, potentially inciting further violence and inflicting more harm on the Australian community," Julie Inman Grant, the commissioner of eSafety, stated. "Most Australians accept this kind of graphic material should not be on broadcast television, which begs an obvious question of why it should be allowed to be distributed freely and accessible online 24/7 to anyone, including children."

Grant notes that X did take down a video globally that compiled this attack with two other stabbing incidents. She also details the violence policy X laid out to the European Commission last October as proof that the platform should remove the video entirely. "...our service has clear rules that prohibit violent and hateful entities, perpetrators of violent attacks, violent speech, sensitive media and the synthetic and manipulated media policy," the passage states. "For the avoidance of doubt, we strictly adhere to our policies concerning illegal content and we continue to remove illegal content, including terrorist content, from our platform." In that vein, she calls taking down the video a "reasonable request" for X to take. 

Twitch is joining Spotify, Max, Peacock, Crunchyroll, EA and other content services in everyone’s favorite corporate trend of raising subscription prices (almost as fun as the parallel trend of Big Tech layoffs). The Amazon-owned company said on Tuesday that Twitch Tier 1 subscriptions in the US will increase from $4.99 to $5.99 on July 11. This is the first time the monthly cost has gone up for American subscribers.

“As part of our efforts to help creators build and grow their communities worldwide, the following countries received subscription price adjustments as a part of Local Subscription Pricing,” the company wrote in a support article.

In a separate X reply, the company clarified that streamers will still earn the same 50 to 70 percent through Twitch’s revenue-sharing program, so they will earn more per subscription (likely the rationalization for the questionable “It’s for the creators!” framing). However, streamers’ earning extra revenue depends on Twitch’s subscriber numbers staying the same or increasing. An unpopular price hike could lead to a loss of paying subscribers if enough people shirk the increase.

Twitch had warned this day would come. When the company raised subscription prices in Canada, Australia, Turkey and the UK in February, Chief Monetization Officer Mike Minton added that a US subscription increase would “probably” arrive sometime this year. And here we are.

The company has had a rough 2024, and we aren’t even at the halfway point. Twitch laid off a reported 500 employees in January to “cut costs” and “build a more sustainable business” as CEO Dan Clancy admitted the company wasn’t profitable. For good measure, it cut how much creators earn from Prime subscriptions. Then, late last month, it removed every member of its Safety Advisory Council, replacing them with “Twitch Ambassadors,” which sounds an awful lot like community volunteers.

It’s time for another streaming service to raise its prices. Up to bat, it’s Max, which was formerly called HBO Max, HBO Go, HBO and who knows what else. It’s the one with Sopranos and Game of Thrones.

The streamer is raising prices across the board, effective today, something we strongly suspected was on its way. Here’s how that will impact your bank account, should you want to nab a subscription just in time for season two of House of the Dragon.

The standard ad-free plan has shot up to $17 per month, with a yearly price of $170. This is an increase of $1 per month or $20 per year. The ultimate ad-free plan is now $21 per month or $210 per year. This is an increase of $1 per month or $10 each year. The ultimate plan adds 4K UHD streaming and the ability to stream on four devices at once.

There’s some good news for those who like really loud ads interrupting prestige TV and sad little Discovery reality shows. The Max With Ads plan will remain unchanged at $10 per month or $100 per year.

Current monthly subscribers will see a price increase on their next billing cycle, so sometime this month. Yearly subscribers remain locked into the lower price until renewal. This is the first price increase since the streamer rebranded to Max last year.

Max isn’t exactly riddled with new content lately. It’s actually been on something of a cancelling spree. House of the Dragon premieres this month, but that’s about it. We should get the Penguin series in the next few months, Dune: Prophecy by the end of the year and The Last of Us season two… whenever it’s ready. Let them cook.

Part wuxia epic and part pulp mystery novel, The Acolyte demonstrates what's possible when Star Wars embraces new characters and genres while abandoning the Dark Side of nostalgia. There isn't a Skywalker to be seen (at least in the four episodes I've watched), or any characters you've met before. It's not trying to fill gaps in pre-existing lore. It's simply a kickass Star Wars story, with perfectly executed action choreography, a bevy of talented actors and a story that feels genuinely fresh. And, best of all, you don't have to be caught up on The Book of Boba Fett or 208 episodes of animated shows to enjoy it.

A major reason why The Acolyte feels so unique is that it comes from Leslye Headland, a writer and director with no prior association to Star Wars. As the co-creator of Russian Doll, she proved that she could juggle a fantastical premise with rich, multi-layered characters. Her outsider perspective is exactly what Star Wars needs to avoid feeling stale. It's the counterpoint to the obsessive world-building from Dave Filoni, the George Lucas disciple behind The Clone Wars and many of the franchise's TV shows.

Lucasfilm Ltd.

The Acolyte begins with a scene right out of Crouching Tiger, Hidden Dragon: A lone warrior enters a bar, presents themself to the most powerful person there, and demands a fight. What follows is an expertly choreographed array of kicks, flips and Force-thrown knives, as the Jedi Master Indara (Carrie-Anne Moss), deflects her young attacker with effortless grace. "Who trained you?" She asks, echoing Michelle Yeoh's first confrontation with Zhang Ziyi in Ang Lee's film. (Yes, I got chills upon hearing that.)

I won't say too much about the plot of The Acolyte, but briefly it involves a former Jedi trainee, Mae (Amandla Stenberg), who is suspected of committing a series of crimes. Her former Jedi Master, Sol (played by Squid Game star Lee Jung-jae), is tasked with tracking her down and figuring out what's really going on. They're also joined by his new padwan trainee, played by Dafne Keen (Logan), and the over-eager, by-the-book Jedi Master Yord (Charlie Barnett).

Lucasfilm Ltd.

What makes The Acolyte truly intriguing is the way it explores the role of the Jedi and their chokehold (heh) on Force powers in the Star Wars universe. Are they actually the keepers of the peace, or a group of fanatical monks aligned with whoever happens to be in power? Is there a legitimate path beyond the Jedi for someone Force-capable like Mae, without turning to the Dark Side? I don't know how the series will answer these questions, but their existence alone is fascinating, as the broader franchise has seemed incapable of interrogating itself in recent years.

After The Rise of Skywalker brought the sequel trilogy to a disappointing close, Star Wars has mostly been mining nostalgia on Disney+ with varying levels of success. The Mandalorian started strong, but became bogged down with repetitive storytelling. The Book of Boba Fett was mostly forgettable, except for when it served as a bridge between season's two and three of The Mandalorian. Nobody needed the Obi-Wan series, but it was nice to see Ewan McGregor and Hayden Christensen back in action.

Lucasfilm Ltd.

Ahsoka and Andor were the most uniformly successful of the Star Wars TV projects, but they both also had to wrestle with pre-existing storylines. To truly understand Ahsoka, you needed to have watched over 200 episodes of The Clone Wars and Rebels, as well as several shorts and episodes from other Star Wars shows. Andor was the most mature vision of the franchise we've ever seen, thanks to creator Tony Gilroy (Michael Clayton, The Bourne Identity), but it was also a slow burn narratively. (And it was still about a character we briefly met in Rogue One, itself a prequel story about finding the Death Star's blueprints.)

The only baggage The Acolyte has to deal with is the trail of middling Star Wars shows behind it. That alone may turn off some audiences. But I'm hoping people recognize it as a fresh start, a world beyond Skywalkers and nostalgia bait. The Acolyte is a reminder of what makes Star Wars great: exciting and pulpy storytelling on a cosmic scale.