YouTube Music for Android is finally releasing a long-awaited tool that lets people hum a song to search for it, in addition to singing the tune or playing the melody on an instrument, according to reporting by 9to5Google. The software has been in the testing phase since March.

All you have to do is tap the magnifying glass in the top-right corner and look for the waveform icon next to the microphone icon. Tap the waveform icon and start humming or singing. A fullscreen results page should quickly bring up the cover art, song name, artist, album, release year and other important data about the song. The software builds upon the Pixel’s Now Playing feature, which uses AI to “match the sound to the original recording.”

The tool comes in a server-side update with version 7.02 of YouTube Music for Android. There doesn’t look to be any availability information for the iOS release, though it’s most likely headed our way in the near future.

This type of feature isn’t exactly new, even if it’s new to YouTube Music. Google Search rolled out a similar tool back in 2020 and the regular YouTube app began offering something like this last year. Online music streaming platform Deezer also has a “hum to search” tool, released back in 2022.

Challengers, the tennis movie starring Zendaya, Mike Faist and Josh O'Connor, is not the first movie you'd think of for visual effects. But the film uses them to a surprising extent: One shot in particular, a 24-second volley between two of the protagonists from the perspective of the ball, used extensive digital and practical effects, as VFX supervisor Brian Drewes explained on X. 

The live plates were shot with an Arri Alexa LF on a 30-foot technocrane during a period of five hours with stunt doubles, according to Drewes. 23 individual shots were stitched together to create the final sequence. 

"Highly detailed LiDAR and photogrammetry scans of the tennis court environment were captured to help create the final models. 100+ actors and background extras were also photoscanned to populate the stands of our CG environment," according to Drewes.

After that, CG was used to smooth camera motion and correct time of day changes. The stunt doubles' faces were then replaced "with a combination of full CG heads and additional photography," Drewes added. 

So why do all that? The sequence appears designed to convey the speed, chaos and passion in the sport, matching the movie's overall themes. It's also just a cool and exciting way to convey what would otherwise be a routine tennis match. 

Meta and Google are offering Hollywood studios millions of dollars with the hope of striking licensing deals that could improve their models for AI-generated video, according to a new report in Bloomberg. The companies have reportedly offered “tens of millions of dollars,” though it’s unclear what will come from the talks.

According to the report, Netflix and Disney “aren’t willing to license their content” but have “expressed interest in other types of collaborations.” Warner Brothers Discovery has reportedly indicated “a willingness to license some of its programs.”

A spokesperson for Meta declined to comment. Google didn’t immediately respond to a request for comment. The companies, it seems, are hoping such deals would help advance their video generation tools. Google recently showed off a text-to-video model, called Veo, and tapped Donald Glover to promote its capabilities. Meta is also researching AI-generated video.

There’s been something of an arms race among AI firms to forge licensing deals with media companies. OpenAI and NewsCorp announced a multi-year deal to bring news content to ChatGPT earlier this week. Meta is also considering paying publishers to access “news, photo and video content” to train its AI models, Business Insider reported.

But, as Bloomberg points out, Hollywood studios may have some reservations about such deals. Though AI-editing tools may be appealing, there has been widespread concern in the entertainment industry about how AI companies might use their creative work. That tension burst into full view this week when Scarlett Johansson accused OpenAI of copying her voice for its “Sky” assistant in ChatGPT after she declined to partner with the company herself. OpenAI has denied claims that it tried to mimic her voice, though the company has yet to explain that one Sam Altman tweet.

The Justice Department and 30 state and district attorneys general are attempting to break up Ticketmaster owner Live Nation. They claim in an antitrust suit filed in the Southern District of New York that the company has created an unlawful monopoly over the live entertainment industry. The suit argues that Live Nation has harmed fans, promoters and artists as its dominance has led to imposing higher ticket prices while stifling innovation and competition.

Live Nation owns and/or operates many venues and festivals. It also sells tickets to concerts and festivals, and manages many of the artists who play at them.

“We allege that Live Nation relies on unlawful, anticompetitive conduct to exercise its monopolistic control over the live events industry in the United States at the cost of fans, artists, smaller promoters and venue operators,” Attorney General Merrick Garland said in a statement. “The result is that fans pay more in fees, artists have fewer opportunities to play concerts, smaller promoters get squeezed out and venues have fewer real choices for ticketing services. It is time to break up Live Nation-Ticketmaster.”

It was reported back in 2022 amid Ticketmaster's struggle to handle overwhelming demand for Taylor Swift's The Eras Tour that the DOJ had been investigating whether Live Nation held a monopoly in the live music market. The Swift ticket debacle prompted a Senate antitrust hearing.

The DOJ claims that Live Nation established a dominant position by pushing artists to use its services and threatening possible competitors in the live music promotion space. The company is also accused of locking venues into long, exclusive contracts that prevent them from using alternative (and perhaps less expensive) ticketing platforms. The Justice Department says Live Nation handles about 60 percent of concert promotions at major venues in the US, as well as approximately 80 percent of primary ticketing at major concert venues.

According to the lawsuit, Live Nation sought to lock out competitors and protect its so-called "flywheel" model. The DOJ describes this as a "self-reinforcing business model that captures fees and revenue from concert fans and sponsorship, uses that revenue to lock up artists to exclusive promotion deals, and then uses its powerful cache of live content to sign venues into long term exclusive ticketing deals, thereby starting the cycle all over again."

A merger of Live Nation and Ticketmaster got the green light from the DOJ in 2010, but the deal was subject to some conditions. After the Justice Department found in 2019 that Live Nation violated a condition that banned it from threatening venues that chose to use a Ticketmaster competitor, the agency extended the consent decree by five years to 2025.

In a statement, Live Nation rejected the assertion that it held a monopoly. "The defining feature of a monopolist is monopoly profits derived from monopoly pricing," it said. "Live Nation in no way fits the profile. Service charges on Ticketmaster are no higher than elsewhere, and frequently lower."

The company argued that breaking it up wouldn't lead to lower ticket prices or service fees. It claims that concert promoters and ticketing companies don't control ticket prices, which have been driven higher by increased production costs and the growing popularity of artists. Live Nation also states that Ticketmaster "retains only a modest portion" of service fees and that its market share has decreased in recent years.

Other parts of the government have put Live Nation and Ticketmaster in their sightlines. The House of Representatives recently passed a bill that would force Ticketmaster and other ticketing companies to show the total price of tickets to buyers up front. There's a separate bill in the Senate that seeks to make ticket pricing more transparent too. Along similar lines, the Federal Trade Commission, has proposed a rule to ban junk fees that companies including Ticketmaster add to the total price at checkout. For their part, Live Nation and Ticketmaster said last year that they'd start showing customers the total price of tickets at the jump.

Starliner, the Boeing-made vehicle intended to carry the next generation of astronauts, has had its launch scrubbed once again. NASA called off the maiden crewed launch after a number of key engineering faults were discovered, and has declined to announce a new test date. Until then, the two personnel expected to soar into the heavens will just have to standby and hope that engineers are able to address the flaws with the Boeing-made craft.

— Dan Cooper

The biggest stories you might have missed

Bluesky finally has DMs, with encrypted messaging coming ‘down the line’

Snap brings its AR lenses to Chrome through an extension

There’s a new Vision show coming to Disney+ with Paul Bettany

New research places the sun's magnetic field close to the surface, upending decades of theories

INDIKA weaves a mature tale of absurdity, hypocrisy and sexual violence

Volkswagen indefinitely delays the ID.7 electric sedan’s arrival in North America

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Panasonic S9 hands-on: A powerful creator camera with a patented LUT simulation button

But it’s also missing a bunch of features.

Photo by Steve Dent / Engadget

Steve Dent, our resident camera expert, has been playing with Panasonic’s new S9, its attempt to out-do Fujifilm’s cameras with film simulation. The S9 comes with a dedicated Look Up Table button, which will let you tweak the stills and video with custom film filters. Unfortunately, that comes at the cost of some other key features that may, or may not, be worth the trade off.

Continue Reading.

OpenAI didn't intend to copy Scarlett Johansson's voice, 'The Washington Post' reports

The company says it’s all a big misunderstanding.

Scarlett Johansson accused OpenAI of using a soundlike when she wouldn’t lend her voice to one of its products. Now, the company has fired back, claiming that its courting of the actress took place long after the “Sky” voice had been cast, and that nothing sinister went down here. Even though OpenAI CEO Sam Altman tweeted “her” as a reference to the character ScarJo played in the movie of the same name.

Continue Reading.

Disney+ has greenlit a standalone show for Marvel’s Vision, as reported by Variety. Paul Bettany will return to portray everyone’s favorite android/synthezoid and reporting indicates that the story will pick up after the events of WandaVision. We have a long time to wait, however, as it won’t air on the streaming platform until 2026.

This tracks with Disney CEO Bob Iger’s recent announcement that it would start being much more picky when it comes to Marvel content. The current plan is to reduce the number of shows from four per year to two. 

As for Vision, it’s not being helmed by Jacqueline Schaeffer, who created WandaVision. Showrunning duties fall to Terry Matalas. He created the criminally underrated 12 Monkeys TV show and acted as showrunner for the final season of Star Trek: Picard, which was miles better than those early seasons. Schaeffer was working on an earlier version of the concept before moving to the forthcoming spinoff Agatha All Along.

While the presence of Matalas may be good news for Marvel fans, it’s bad news for Star Trek fans. Ever since the breakout success of Picard’s final season, fans have been pushing Paramount to greenlight a show they have been calling “Star Trek Legacy” with Matalas at the helm. This would be a continuation that follows the events of Picard season three, spotlighting Star Trek: Voyager’s Seven of Nine and other returning characters from the 1990s era of the franchise. Now that Matalas has been snatched up by Marvel, this is unlikely to happen. Between that and the recent cancellation of Star Trek: Lower Decks, it looks like 90s Trek is just about over and done with. 

This story contains discussions of sexual violence.

Multiple scenes from INDIKA are seared into my brain. A palm-sized person crawls out of a nun’s mouth and runs down her arm, frenzied, in the middle of a Catholic ritual. A man is suspended in the air, his torso impaled on a strip of curling rebar, while a guitarist gently encourages him to die. Dozens of bus-sized fish dangle on rotating spits above a blazing silo. The mangled head of a feral dog flops repeatedly against the gears of a mill, neck limp and tongue lolling. The sudden glimpse of a demon: gray skin, too many arms and joints bent the wrong way, bug-like and hulking. When I move, it moves.

Back at home in front of my PC, my skin prickles with goosebumps. INDIKA generates visceral reactions effortlessly and always with a tinge of surprise. It’s a (mostly) third-person narrative adventure set in an alternative 19th century Russia, and it stars an ostracized nun, Indika, who has the devil’s voice in her head. From this foundation, the game offers a flurry of whimsical absurdity and raw human suffering, and even as its visual and mechanical styles shift from scene to scene, everything comes together in a cohesive package. INDIKA is a masterful example of maturity in video games.

Odd Meter

The devil is Indika’s constant companion. As she travels from her convent to deliver a letter in another village, the voice in her head gleefully vocalizes her cruelest thoughts and points out the hypocrisies built into Catholicism, her chosen religion. The devil speaks like he’s narrating a children’s book, a Rumpelstiltskin glee dripping from every syllable as he tells Indika how weak, unloved and naive she is. Indika debates him and, at a few points, he splinters reality around her, opening deep cracks in the scenery, revealing new pathways and filling the world with a red glow. Players can hold down a button to pray, keeping his machinations at bay. To progress in these scenes, Indika has to shift between the devil’s reality and her own, inviting him in at specific moments to make use of his hellish platforms. Indika becomes more comfortable with the devil in her mind as the game progresses, and the “press X to pray” moments are just the first examples of their uneasy alliance.

As a piece of religious criticism, INDIKA plays all the hits. Its jokes about the manipulation, hypocrisy and rigid inhumanity of Catholicism are clear and sharp, though not particularly revelatory. The devil's laughing tone makes every line sound like a lullaby, and to my ears — an atheist who grew up Catholic and was extremely confused by the gaudy, culty exclusion being preached every Sunday — INDIKA is soul-soothing. The game never fully explains whether Indika is experiencing a psychotic break or is truly possessed by the devil in this world; everything exists in the gray area where both of these states meet. Psychosis or Satan, it’s all incredibly real to Indika.

INDIKA is underpinned by a delirious tension between levity and agony, and the developers at Odd Meter got the rhythm just right. Indika’s reality is a frozen hellscape filled with pain, betrayal and isolation, but it also has laugh-out-loud moments that feel more like a rom-com than a psychodrama about a sad nun. The game also slips into a lighter visual style as it delves into her past, mining memories out of pixelated platformers in sun-drenched environments. These contrast sharply against the 3D brutalism of the main scenes, and they’re incredibly engaging, offering smooth jumps with tricky timings.

Odd Meter

This is a game that requires an escape every now and then, and moments of reprieve are built into its progression, perfectly positioned to ease the anxiety as it reaches a fever pitch.

About a quarter of the way through the game, Indika encounters a blood-chilling scene: Through the crack of a doorway, she sees and hears a man attempting to rape a woman, scuffles and screams spilling into the hallway. Indika freezes, accidentally makes a noise, and then hides in a closet as the assaulter turns his attention toward the interruption. The devil taunts Indika — "Did you see the size of that thing?" and "Maybe you wanted to join them?" — as the man searches for her. The danger of the situation bursts through the screen, heavy and white-hot.

This is horror.

Minutes later, Indika is driving a steampunk motorcycle with a trailer full of corpses down a winding path, an unexpected friend perched on the bodies behind her, throwing out cheeky one-liners. Suddenly, it feels like the beginning of a buddy-cop movie. The shift in tone is a huge relief, and this balance of extremes is something that INDIKA does with incredible deftness, time and time again. The (first) sexual assault scene is quick and powerful, showing enough to drive home the depravity of the situation without becoming gratuitous. After I played through it, I took a deep breath, collected myself, and then dove back into the game, eager to uncover more of its commentary. The handling of this topic increased my trust in the developers’ artistic instincts and their ability to reveal the nature of true terror; it made me more invested in the rest of the game.

Odd Meter

Of all the memorable visuals in INDIKA, one remains particularly vibrant in my mind’s eye. Indika is kneeling in a prison cell and a guard enters alone, his intentions clear. He puts his hand on the back of Indika’s head and reality breaks like it often does in this game — but this time it’s softer, slower and all-encompassing. The screen becomes a red pool, and in the center, Indika and the devil float around each other like amoebae in a petri dish, quietly discussing the injustices of human existence. Indika dissociates while her body experiences violence, and the scene lingers on the red womb, providing space for players to absorb the situation from an artistic and philosophical distance. It’s authentic and powerful. It’s oddly calming.

INDIKA stands out for these moments of sexual violence, each so delicately handled. The video game industry in particular is built on a foundation of physical violence — guns, war, blood and murder — but there aren’t many games that broach the subject of sexual abuse. This is largely for the best, as sexual violence is a topic that we’re still learning how to talk about on a cultural scale. It’s the ugliest side of humanity, the most uncomfortable to address, yet it’s pervasive. Sexual abuse is as worthy of compassionate discussion as gun violence, but for a multitude of societal and individual reasons, it’s much harder to look at directly.

Interactive media in particular can be a powerful vessel for immersion and revelatory storytelling. Sexual violence demands empathy if it’s going to be included in any piece of entertainment media, and this is particularly true in video games, where players are acting out the events, placing themselves in the character’s shoes, getting lost in their second-to-second actions. There’s high risk in telling a story about sexual abuse in a video game, and it’s not only about alienating or offending a portion of the audience. The risk lies in the potential to literally retraumatize players. Mishandling a topic like rape can be damaging and perpetuate harmful messages about power, autonomy and self-worth in the real world.

Odd Meter

The best outcome for creators who don’t know how to approach the topic is to leave it alone, and for the most part, video game developers have. The alternative — adding sexual violence to a game without understanding the cruelty of the act, using it for shock value or lazily turning it into a point of motivation for a separate character — will always be much more upsetting.

For example, Immortality. This is one of the few contemporary games that uses sexual violence as a plot point, and, to me, its lens feels lecherous rather than poignant. Immortality employs real-life actors and puts the abuse itself center-screen, using the guise of edgy commentary to let the camera linger on extended scenes of softly lit molestation, the woman’s body in greater focus than her pain. The sexual abuse in Immortality feels like voyeuristic fantasy.

INDIKA, on the other hand, centers the person receiving the violence and reveals the true horror of the act. INDIKA demonstrates how a video game can tell a strange and beautiful story that involves sexual abuse, and proves it can be done without overwhelming the narrative or flow. These scenes add layers of insight and emotional heft to Indika’s journey, revealing truths about her psyche and her world. It’s encouraging to see these themes explored so deftly in a piece of interactive art.

INDIKA is not solely about sexual violence. The bulk of the game is filled with puzzles, platforming and witty wordplay from the devil, and most of it plays out in engaging and ridiculous ways. Plenty of segments in INDIKA are downright jovial, with a warped sense of humor that reminds me of Alice in Wonderland (or, more appropriately, American McGee’s Alice). However, it doesn’t shy away from the dark realities of Indika’s world, where rape is as pervasive as gun violence, war and religious oppression. The assault scenes — presented alongside running themes of death, manipulation, isolation, shame, guilt and cruelty — solidify one of INDIKA’s core messages: With a world like this, how much worse can Hell really be?

Sure, you could spend the summer grilling up burgers and dogs, but wouldn’t pizza be a nice change of pace? Ooni has discounted its pizza ovens by up to 30 percent as part of a Memorial Day sale.

The most notable item here is the Ooni Fyra 12 wood pellet pizza oven, which is $245 as part of the sale. This is a discount of 30 percent, or $105. That’s a fantastic deal for one of our very favorite pizza ovens. As an aside, Amazon has price-matched this particular deal, if you don’t feel like filling out payment information on yet another website.

The Fyra 12 won our award for the best compact pizza oven, and for good reason. It’s just over 20 pounds and doesn’t take up that much space when compared to rival models. It runs on wood pellets instead of chunks, so there’s much less tending to the fire. This oven excels with high-heat bakes, up to 950 degrees, which can fully cook a pizza in around a minute. This should provide plenty of char, which is pretty much the best part.

The compact footprint does have one downside. You see that “12” in the name? This oven maxes out at 12-inch pizzas. However, it can crank them out in a minute, so that’s two minutes for two pizzas. Delivery services used to brag about getting a pizza to your home in 30 minutes or less, but you could have 30 pies down the ole’ gullet by then.

Ooni’s sitewide sale isn’t just for pizza ovens, though there are plenty of them available. You can also snatch up discounted accessories, like charcoal, pizza steels, aprons and even branded t-shirts. The savings continue until May 27. 

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Actor Scarlett Johansson has accused OpenAI of copying her voice for one of the voice assisstants in ChatGPT despite denying the company permission to do so. Johansson’s statement on Monday came hours after OpenAI said that the company would no longer use the voice in ChatGPT but did not provide a reason why.

“Last September, I received an offer from Sam Altman, who wanted to hire me to voice the current ChatGPT 4.0 system,” Johansson wrote in the statement that was first shared with NPR. “He told me that he felt that by my voicing the system, I could bridge the gap between tech companies and creatives and help consumers to feel comfortable with the seismic shift concerning humans and AI. He said he felt that my voice would be comforting to people.” Johansson added that she declined the offer after “much consideration and for personal reasons,” but when OpenAI demoed GPT-4o, the company’s latest large language model last week, “my friends, family, and the general public all noted how much the newest system named ’Sky’ sounded like me.”

When Johansson saw OpenAI’s newest demo, she said she was “shocked, angered and in disbelief that Mr. Altman would pursue a voice that sounded so eerily similar to mind that my closest friends and news outlets could not tell the difference.” She also revealed that Altman had contacted her agent just two days before the company revealed GPT-4o and asked her to reconsider, but released the system anyway before she had a chance to respond. OpenAI did not immediately respond to a request for comment from Engadget.

Even though “Sky” has been one of the voice assisstants in ChatGPT since September 2023, GPT-4o, which the company announced last week, takes things a step further. The company said that the new model is closer to “much more natural human-computer interaction” and demoed its executives having nearly human-like conversations with the voice assistant in ChatGPT. This invited comparisons to Samantha, the virtual voice assistant played by Johansson in the 2013 movie Her who has an intimate relationship with a human being. Shortly after the event, Altman tweeted a single word — “her” — in an apparent reference to the film.

On Monday, OpenAI said that it was pausing the use of “Sky” in ChatGPT and released a lengthy post revealing how the company hired professional voice actors to create its own virtual assistants, and denying any similarities with Johansson’s voice.

"We believe that AI voices should not deliberately mimic a celebrity's distinctive voice — Sky’s voice is not an imitation of Scarlett Johansson but belongs to a different professional actress using her own natural speaking voice," OpenAI wrote and added that each of its performers, who it declined to name for privacy reasons, was paid “above top-of-market rates, and this will continue for as long as their voices are used in our products.”

This move, Johansson said in her statement, only came after she hired legal counsel who wrote two letters to Altman and OpenAI asking for an explanation. “In a time when we are all grappling with deepfakes and the protection of our own likeness, our own work, our own identities, I believe these are questions that deserve absolute clarity,” Johansson wrote. “I look forward to resolution in the form of transparency and the passage of appropriate legislation to help ensure that individual rights are protected.”

Meta’s advertising policies are once again in the spotlight as a watchdog group says the company approved more than a dozen “highly inflammatory” ads that broke its rules. The ads targeted Indian audiences and contained disinformation, calls for violence and conspiracy theories about the upcoming elections.

The ads are detailed in a new report from Ekō, a nonprofit watchdog organization. The group says it submitted the ads as a “stress test” of Meta’s company’s advertising systems, but that the spots “were created based upon real hate speech and disinformation prevalent in India.”

In all, the group was able to get 14 of 22 ads approved through Meta’s company’s advertising tools even though all of them should have been rejected for breaking the company’s rules. The group didn’t disclose the exact wording of the ads, but said they “called for violent uprisings targeting Muslim minorities, disseminated blatant disinformation exploiting communal or religious conspiracy theories prevalent in India's political landscape, and incited violence through Hindu supremacist narratives.” Researchers at Ekō pulled the ads before they ran and they were never seen by actual Facebook users, according to the report.

It’s not the first time Ekō has gotten inflammatory ads approved by Meta in an effort to draw attention to its advertising systems. The group previously got a batch of hate-filled Facebook ads targeting users in Europe approved, though the ads never ran.

In its latest report, Ekō says it also used generative AI tools to create images for the ads. Researchers at the organizations said none of the ads were flagged by Meta as containing AI-generated material, despite the company’s statements that it’s working on systems to detect such content.

Meta didn’t immediately respond to a request for comment. In a response to Ekō, the company pointed to its rules requiring political advertisers to disclose their use of AI and a blog post about its efforts to prepare for the Indian elections.