In the last few years, basically every platform of consequence has made its own take on TikTok's signature scrolling feed of vertical videos. YouTube Music is the latest. Today, the app will get a vertical video feed called Samples that YouTube describes as a one-tap way to quickly sample and find new music. 

Samples lives in a new tab at the bottom of the app, alongside the home feed, your library and the explore section. Tapping Samples automatically starts a short vertical video clip of a song that YouTube Music thinks you'll like. Naturally, it's pulling songs based on your taste profile, with an emphasis on artists that you like, and related ones who you might not have heard before. 

The app already has multiple playlists that are tuned to your listening habits, including a Supermix that pulls songs and artists together across all your listening habits. There's also a Discover playlist that, naturally, focuses on things you're not familiar with but might enjoy based on your history. YouTube Music product manager Gregor Dodson told Engadget that the algorithm for the Samples feed is a little different from both of those — it's trying to site in between the two playlists, highlighting artists that you may be familiar with but pulling clips you haven't watched before.

The clips you'll see in Samples are only 30 seconds long, but that's about enough to give you a sense of the song. If it's not what you're looking for, just swipe up and you'll jump to another song, and you can do this as much as you want. Spotify added its own vertical video feed recently, but that's less for discovery and more to offer a way to quickly scroll through previews of songs in its playlists. But with both Spotify and YouTube Music implementing such a new, it seems likely that we'll see more apps do the same soon.

I got to try Samples for a few days before it launched, and the thing I found most interesting was to use it as a jumping off point for a longer listening session, something Dodson confirmed was by design. "Short form video [and] the infinite scroll have really interesting applications in music discovery," he said. "It's a simple way to discover new music, but it's not the end of the journey — it's just the start of finding a new artist or song." 

YouTube

To that end, the Samples video view is overlaid with a number of controls. From any Sample, you can tap the thumbs-up to save the song to your "liked songs" playlist. You can also save the song to any playlist you've created. Between these two options, it's pretty easy to quickly scan through Samples and save a bunch of songs to check out further. And if you hear something you want to immediately play in full, just tap the big old play button in the corner of the screen.

Since this is YouTube we're talking about, there's also a "Shorts" button that pops you into the main YouTube app. It'll show you other Shorts clips created with the audio you picked and let you jump into making your own clip with the song. Finally, the share button does just what you'd think — you get a link that can drop into a host of other apps like Messages, Reddit, Facebook and whatever else you might have installed. 

In the overflow menu, you can find a lot of other options, like starting a continuous radio station from the song, jumping into the artist's page to find more music, saving the track to your library and so forth. I with the "start radio" button was featured more prominently in the Samples video, because I found that to be a great way to jump into a auto-generated set of tunes with the same vibe as the Sample that initially caught my eye (and ear). 

My main issue with Samples is one of UI. Specifically, it's not always clear where exactly you'll end up in the app when you switch views. Tapping the Samples tab starts the video scroll, and to exit it you can tap one of the other bottom navigation tabs; tapping the "play" button opens up the familiar YouTube Music player controls. Finally, swiping back down to hide the player interface returns you to Samples. Seems pretty clear. But at one point, I had hit the play button to hear a song and then rotated my phone to landscape to see the video in full screen. When the next song started, I rotated my phone back to landscape, and the app threw me immediately back into the Samples view, with the clip of the song I had already heard still playing.

Another time, I started playing a song, and the hit the toggle at the top of the Now Playing screen to switch the video off and just hear the song. I listened to a few more songs from the auto-generated station of similar music, and then swiped down to hide the Now Playing UI and browse around the app. I was again tossed back into the Samples view. That does make some logical sense, as that's where the whole listening experience started. But I'm to used to being able to hide the Now Playing screen and browse around the app while still playing music that it was a bit jarring. That said, I could then hit the "Home" tab at the bottom and resume what I was playing. It works, but the addition of Samples does change a few of the app's expected behaviors.

These quibbles aside, Samples seems like a pretty handy addition to the YouTube Music app. In the few days I had to test it, it consistently served up music from artists I liked, and the song selections were indeed things I was usually less familiar with. The video clip aspect of it doesn't really matter to me, but given how many artists are making excellent videos these days, it's fun to remember that these visuals are worth checking out sometimes. (Thanks, YouTube Music, for surfacing the wild video for "I Know the End" by Phoebe Bridgers.) More importantly, it did work well as a jumping-off point for digging into some artists I had forgotten about or finding a tune to set the mood for a playlist or station.

YouTube says that the Samples feature is rolling out globally starting today for both Android and iOS users. As with most new features, it might not hit your app immediately, so you might need to be a little patient.

Along with making the Playdate and some Mac apps, Panic is also a well-regarded games publisher with Firewatch and Untitled Goose Game under its belt. However, it's been a few years since Panic released a game outside of titles made specifically for the Playdate. Panic is ramping up its publishing efforts and we'll soon get a peek at what's in the pipeline when the company hosts its first games showcase. You can watch it on Panic's YouTube channel at 1PM ET on August 29th.

The stream will run for around 20 minutes and it will include more details on previously announced games Nour: Play With Your Food and Despelote. In addition, Panic will show off some new games and reveal fresh partnerships. You'll get behind-the-scenes looks at some titles too. “We thought it’d be fun to put on a little show and let the world know about the wonderful games we’ve been working on publishing, from amazing developers all around the world," Panic co-founder Cabel Sasser said.

One thing you shouldn't expect from the showcase is any Playdate news. On a positive note, Panic will show off some of the games featured in the showcase at both Gamescom and PAX West.

The Internet Archive is facing another lawsuit over one of its conservation projects. Sony Music Entertainment, Universal Music Group and a handful of other music labels have filed a lawsuit against the nonprofit organization, accusing it of copyright infringement for digitizing, "willfully upload[ing], distribut[ing] and digitally transmitt[ing]" pre-1972 sound recordings. In particular, the labels are suing Internet Archive for the Great 78 Project, which seeks to preserve music recorded on 78rpm discs. 

The labels call Internet Archive's efforts "blatant infringement," involving music by artists that include Frank Sinatra, Ella Fitzgerald, Billie Holiday, Miles Davis and Louis Armstrong. They also listed a few examples of "iconic recordings" available through the Great 78 Project, such as White Christmas, Sing, Sing, Sing, and The Christmas Song. 

The companies said the the songs preserved on the project website are already available through streaming and other music services, so they "face no danger of being lost, forgotten, or destroyed." But the organization explained on the project portal that there's "still research value in the artifacts and usage evidence in the often rare 78rpm discs and recordings." 

The plaintiffs disagree, writing in their complaint that Internet Archive's activities "far exceed" the limited purposes of preservation and research. "Internet Archive unabashedly seeks to provide free and unlimited access to music for everyone, regardless of copyright," they added. The labels are asking statutory damages of up to $150,000 for each protected sound recording, and that could add up to $372 million for the listed recordings, according to Bloomberg.

Internet Archive is also embroiled in a legal battle with a group of US publishers led by Hachette Book Group over the National Emergency Library. The organization lent out digitally scanned copies of books through the program during the height of the pandemic, which the publishers described as "willful mass copyright infringement." A federal judge ruled against Internet Archive for that particular case, though the organization is planning to appeal that decision.

Instagram now lets you add music to photo carousels. Unveiled in partnership with pop star Olivia Rodrigo to promote her single “bad idea right?”, the feature allows you to pick licensed music to soundtrack your slideshows. In addition, the company announced that you can create Collabs with up to three co-authors and post audience-response prompts to Reels.

The carousel soundtracking feature adds a missing piece already found in TikTok’s Photo Mode, launched last year. “Whether you’re sharing a collection of summer memories with friends or moments from your camera roll, you can now add music to your photo carousels,” Instagram wrote in a blog post today. “Building off our launch of music for feed photos, anyone can add a song to capture the mood and bring their carousel to life.”

Also announced today, Instagram Collabs adds the ability to invite up to three friends (up from one) to help co-author feed posts, carousels or reels. The platform says each contributor’s audience will see the content (perhaps hinting that it could be a handy way for influencers to benefit from each other’s followings) and will feature on each account’s profile grid. In addition, the company says private profiles can still start posts / reels and invite collaborators as long as they follow the private account.

Instagram

Instagram also updated how the Add Yours sticker works. When a creator adds the new Add Yours prompt to a Reel and followers contribute content as a response, the creator can now highlight their favorite posted replies for all their followers to see. “With the Add Yours sticker, a creator or artist can invite their followers to join in on a fun prompt or challenge they create on Reels, and then hand-pick their favorite submissions to celebrate their fans’ creativity.” It essentially sounds like a way to use the human social desire to connect with high-status figures (especially celebrities like Rodrigo) to build engagement for creators and the platform as a whole.

Finally, Instagram noted that it’s bringing its music library “to more countries over the coming weeks,” although it hasn’t yet announced specific nations or dates. However, it did mention that Instagram is partnering with Spotify in Mexico and Brazil to showcase 50 of the most popular songs on Instagram Reels on the music platform’s Reels Music Chart.

Final Fantasy VII: Ever Crisis, a mobile game that expands the FFVII story and universe, will be available on iOS and Android on September 7th. Square Enix first announced the mobile game along with the battle royale action title Final Fantasy VII The First Soldier back in 2021. It was supposed to come out in 2022, but delays pushed back its release, and the company didn't start closed beta testing for the game until July this year. 

Ever Crisis was developed by Applibot, though Final Fantasy veterans Kazushige Nojima, Yoshinori Kitase and Tetsuya Nomura were involved as scenario writer, executive producer and creative director, respectively. It features an art style reminiscent of the the original FFVII's chibi characters, but with a twist — as The Verge notes, Cloud has actual hands in this version. 

The game retells the events from the original game, so players can relive some of its most iconic moments, though it also includes the The First Soldier's backstory and stories about the characters from when they were younger. As for its gameplay, it's based on the original's Active Time Battle system that's been optimized for mobile. 

Ever Crisis will be free-to-play, but according to Android Police's review of the closed beta version, players will have to spend money playing "gacha" to get weapons and other items. Fans who want to play the game regardless and as soon as it becomes available can now pre-register for either or both mobile platforms. 

Fans of shows like Andor and The Last of Us who are looking forward to finding out whether their faves will triumph at the Emmy Awards will have to remain patient for an extra few months. The Television Academy and Fox have announced that the Primetime Emmy Awards ceremony will now take place on January 15th — Martin Luther King Jr. Day — rather than September 18th.

That marks a delay of four months and it means the ceremony will air one week after the Golden Globes. The Television Academy and its broadcast partner have pushed back the Creative Arts Emmy Awards to the same weekend as the Golden Globes as well (an edited version of that two-night ceremony will air on January 13th).

The delay isn't unexpected. Rumors have been swirling for weeks that the Academy and Fox would have to postpone the Emmy Awards amid writers and actors strikes that have ground Hollywood productions to a halt. With no Writers Guild of America members available to write jokes for the Emmys host and actors in SAG-AFTRA unable to attend awards ceremonies due to union rules about promoting struck work, a rescheduling seemed inevitable at this point.

Actors and writers are on strike in an attempt to secure fair contracts with Hollywood studios that protect the future of their professions. One of the major points of contention is that both unions want to safeguard their members against advancements in artificial intelligence that could harm their employment prospects. For instance, SAG-AFTRA claims the studios wanted to scan actors and have the right to use their digital likenesses in perpetuity in exchange for a single day of pay.

As has been the case for several years now, shows and television movies from streaming services are competing with those from broadcast networks for Emmy glory. HBO and Max racked up a combined 127 nominations thanks to the likes of The Last of Us and Succession. Netflix has 103 and Apple (with a big helping hand from reigning Emmys champ Ted Lasso) has 52. Thanks in large part to its various Star Wars shows, Disney+ has 40 Emmy nominations this year.

The following article discusses spoilers for “Hegemony” and Star Trek more generally.

1. Bloody hell. I’ve repeatedly said that Strange New Worlds exudes a special sort of confidence this season. The cast and crew are working as a seamless whole, knowing that the conviction at which you sell is just as important as the quality of what’s being sold. The team has raised their floor and ceiling in equal measure, and even the worst episode was bad because of what it said, not because of how it said it. “Hegemony,” is a finale that, aided by the early commission of season three, acts as one part victory lap and one part set up for what follows.

2. The powers that be at Paramount didn’t signal ahead of time that this episode would end on a cliffhanger. In fact, Henry Alonso Myers’ screenplay is a brilliant feint, suggesting the episode will wrap up on a satisfactory, if brisk, ending before the rug pull in its final moment. You’d be forgiven for not noticing the different transporter energy when the survivors were beamed away on your first watch. Myers’ script and Maja Vrvilo’s direction is permeated with a low-level feeling of dread that suits the needs of both the Alien-esque horror and the raised-stakes of a finale.

3.Strange New Worlds has been smarter about setting up and paying off its threads than you might expect. “Among the Lotus Eaters” saw Ortegas feeling sidelined after getting bumped from an away team which forced her to accept her role as the ship’s pilot. Here, she finally gets her wish to go on a mission, but her initial enthusiasm is sapped when she realizes she’s more or less out of her depth. Her scene with Dr. M'Benga, where she admits she’s leaving the role of action hero to the captain, underscores this. The fact she’s one of the crewmembers taken by the Gorn at the end adds a darker weight to her finally getting her wish granted.

Michael Gibson/Paramount+

4. Montgomery Scott’s voice-only cameo in last season’s finale was a neat hat-tip to fans with a basic fluency for Star Trek. I guess it was just too tempting not to follow up on that this time, with Martin Quinn as the young engineer. It’s gratifying to see an actual, Paisley-born Scot playing the role, and an amusing fact that he’s the second actor – after Simon Pegg – who has paid their dues playing roles in various British comedy shows. If Quinn hangs around, I can’t wait for Trek completionists to watch Limmy’s Show and Derry Girls to watch his early work, much like when I watched Brent Spiner on Cheers and Night Court.

5. I don’t want to harp on about the limitations a prequel imposes, because we all know the score now. It may bend the edges of Trek’s established narrative but Strange New Worlds can never escape its eventual destination. Young Kirk, Young Spock, Young Uhura, Young Chapel, Young Scotty and Young Dr. M’Benga will all be here, around and alive, to turn into their 1966 counterparts. You can’t put any of those characters in jeopardy, or base your episode around asking that question, because we already know who is safe.

That’s why the emotional beats of Spock’s dramatic rescue of Chapel worked perfectly, but asking the question of her survival did not. The show was smart enough to only leave the issue lingering for the first act before we saw Chapel working to stay alive. (Notice she also gets to do an EVA in a proper spacesuit after her emergency leap in “The Broken Circle.”) But I can only speak as a “fan” so maybe it worked better for those mainstream viewers who have made Strange New Worlds one of the biggest shows on streaming TV.

Michael Gibson/Paramount+

6. Back in the ‘60s, Pike and Kirk were the same character with the serial numbers filed off, both drawn from the same template of rugged mid ‘60s masculinity. Two-fisted thinking men of action as comfortable on the back of a horse as they were quoting poetry or discussing naval history. This lack of distinction wasn’t really an issue back then, or even now, until Strange New Worlds made the conscious decision to let Kirk lurk on the periphery of Pike’s narrative.

It meant the production team needed to retrofit Pike as different from his successor, helped by Anson Mount’s gravitas and easy charm. And the first season finale made it clear that Pike’s reluctance to shoot first and ask questions later was his tragic flaw. One that Kirk didn’t have, which made him a better leader to take the Enterprise on its next set of missions. But Anson Mount’s paternity leave and reduced shooting schedule meant there wasn’t time to examine the fallout from “A Quality of Mercy” in any detail.

After all, he now knows his desire to find a peaceful solution single-handedly started a war that wiped out the Federation. He also knows he has to remain true to his principles or else he could pollute the timeline and not be in the right place to save future Spock’s life. The fact he’s unable to make a decision in the cliffhanger is entirely congruent with the journey Pike has been on, but it’s clear the steps leading to this moment would have been explored far more had Mount been available.

“Hegemony,” then, is the show’s first real chance to look at how Pike has tried to grow into Kirk’s mold, despite how ill-fitting he finds it. In his first talk with Admiral April, he advocates a policy of shooting first, but not long after he’s thinking about trying to find a peaceful solution. It’s those two competing urges that paralyze Pike in the finale, knowing there are lives on the line whatever he does. But, again, you have to praise the production team for trusting the audience will keep up with what happened in the previous season.

7. It’s not great that Strange New Worlds can only do so much to put clear water between Pike and Kirk. You can’t make Pike look too old-fashioned or useless without alienating him from the audience, especially given his forthcoming ultimate sacrifice. But go too far the other way and you make Pike a dove in comparison with the more hawkish Kirk which, to me, feels like the wrong message to be sending.

Michael Gibson/Paramount+

8. It’s hard to know how long Strange New Worlds will run for, or what the plans are for its future. You could easily argue it never needs to end so much as just swap out characters until you’ve rebuilt the 1966 ensemble. Every generation of Paramount executives harbors a desire to get a do-over on Kirk and Spock in the hope their name recognition alone will carry a series.

But I’m curious if that’s something people would actually want? I’m not sure I do, but then my dream would be an original series set in Trek’s present with no legacy characters at all. And I know that’s something of a minority opinion compared to all those folks who want yet another run on the nostalgia treadmill set in the safety of Trek’s past. (If nothing else, at least Strange New Worlds has kept its fan service to a minimum and tried, as best as it can, to set out on its own path.)

9. At the end of my season one finale review, I wrote “Whisper it, friends, but Strange New Worlds might actually be good?” That was a fair line at the time, since the show took a while before clicking into a high gear. Since then, however, more or less every episode has improved upon the last to produce a second season with barely any weak notes. We don’t need to whisper anything now, Strange New Worlds is the best live-action Trek of the streaming era.

The surprisingly emotional and strangely addictive “dystopian document thriller” Papers, Please just turned ten years old and has officially sold five million copies across multiple platforms throughout the past decade. To celebrate the milestone, developer Lucas Pope and his company 3909 LLC released a web game called LCD, Please that allows players to go through certain aspects of the original title.

Just like the real game, LCD, Please tasks you with approving or denying passport and transit requests. As the name suggests, the graphics style emulates those LCD portable devices of yesteryear, like Nintendo’s Game & Watch series. The sound is monotone, the controls are simple and the gameplay is addictive, making it a great way to accidentally waste a few minutes during the work day.

The web game isn’t the only way the developer is celebrating the success of Papers, Please. There’s also an official soundtrack, available now on Spotify and Apple Music, a developer’s log with insider information chronicling the game’s original pitch and a store selling related merchandise. To the latter, you can pick up posters, shirts, stickers and more.

Since the game’s initial release in 2013, Papers, Please has gone on to launch on over 40 platforms, according to the developer. Most recently, the title was released for Android and iOS devices last year. The game’s success also inspired a short film, which was well-received and lauded for capturing the spirit of the source material. Since making Papers, Please, developer Lucas Pope has gone on to create the seafaring whodunnitReturn of the Obra Dinn.

At its Stream On event earlier this year, Spotify announced a partnership with Patreon that would bring subscriber-only podcasts from the creator platform to its streaming service. Today, that integration launches for all creators and users globally, allowing patrons to listen to exclusive content alongside other episodes on Spotify. If you stumble upon a show that you don't yet support monetarily, you can get access with a few taps from the show's page inside the streaming app. 

Patreon podcasters only need to sync their account with Spotify to get started. Afterwards, all patron-exclusive content will be on a dedicated page on their Spotify show profile. Creators will have the option of adding promotional banners on their free episodes page to help drive subscription numbers. The integration of Patreon is powered by Spotify's Open Access, which was first announced in 2021. This technology allows shows that host subscription content on other platforms to use their existing log-in credentials to bring those podcasts to the streaming service. Other integrated platforms include Supporting Cast, Supercast and more. Additionally, Spotify has been offering paid podcast subscriptions through its audio production platform Anchor for over two years. 

Just like that Anchor setup, any subscriber-only Patreon podcasts that you don't have access to will show up with a lock icon in the Spotify app. There's also a small "paid" tag next to the publish date and runtime info. When you tap the lock, a pop up will ask if you want to hear more from the creator before sending you to their Patreon page to view subscription info. 

Spotify doesn't take a cut of subscriptions that are generated through Open Access. Patreon and Spotify both explain that creators will retain "full control" over their audiences, content and revenue while using the streaming service to expand their reach. There's no additional cost to integrate Patreon with Spotify either, and creators publishing both free and paid episodes can use the setup. 

Dead by Daylight has a new Killer in town, and it's one all horror fans know (and likely fear): the Xenomorph. Behaviour Interactive has released all of the details of its new Alien collaboration following a teaser that provided a glimpse into the new Nostromo Wreckage Map. The announcement confirmed not only the Xenomorph's role as Dead by Daylight's latest Killer but also the introduction of Ellen Ripley as a Survivor. 

This edition introduces seven Control Stations, a new Map feature that allows Survivors to get a Remote Flame Turret (another addition), which they can use to stagger the Xenomorph — though the Killer can destroy the tool. It can also stop the Xenomorph's unique Power known as Runner Mode, which lets it walk on four legs and shrinks its Terror Radius. 

The control stations sit on top of tunnels that the Xenomorph can enter and exit through. "Creating the Xenomorph's Tunnel system was very challenging as we had never created a sublevel that could only be accessible to the Killer. This new mechanic grants it Map-wide mobility and definitely amps up the scare factor – which feels very connected to the original character," said Janick Neveu, Game Designer on Dead by Daylight.

You don't have to wait long to wander through the Nostromo Wreckage in total fear (a perfect nighttime game, right?) as Dead by Daylight: Alien will be available across platforms starting August 29th. Impatient? You can already download the game's Public Test Build and try it out early.