NPR isn't the only public broadcaster to stop tweeting after Twitter applied a "government-funded media" label to its account. PBS has halted its use of the platform too. The organization hasn't posted on its Twitter account since April 8th.

Both PBS and NPR claim the label, which previously read "state-affiliated media," doesn't represent them accurately. Twitter previously reserved such labels for state-run outlets like China's Xinhua News Agency and Russia's RT and Sputnik.

“PBS stopped tweeting from our account when we learned of the change and we have no plans to resume at this time,” a PBS spokesperson told Variety. “We are continuing to monitor the ever-changing situation closely.”

Federal funding accounts for around 15 percent of public television system revenue, PBS says. The biggest chunk of revenue, 31 percent, comes from donations from individuals. NPR, meanwhile, says federal funding makes up less than one percent of its average annual budget. The broadcaster says it stopped using Twitter in large part to protect its credibility, suggesting the label implies that the government has editorial influence over it. NPR says it's "a private, nonprofit company with editorial independence."

Twitter also applied the label to the BBC's account. That organization also pushed back against the "government-funded media" descriptor. Following an interview that a BBC reporter conducted with Twitter owner Elon Musk this week, the company updated the label to read “publicly funded media,” a more accurate description of the broadcaster's license fee-based budget.

Turning a radio show or any other live broadcast into a podcast isn't quite as simple as uploading the exact same file somewhere else. Downloading an episode from a radio platform, yanking ads, dropping in ad markers, making other edits and uploading it as a podcast typically takes up to an hour, Spotify said. To take some of the sting out of that process, the company has released a tool that can automatically create podcast episodes from existing broadcasts.

Spotify is using tech from Whooshkaa, a company it bought in 2021, to power the tool. Users of Megaphone, Spotify's podcasting platform for businesses, will have access to it. Several publishers are already using Megaphone to convert radio broadcasts into podcasts, including Fox News Audio. The tech can identify existing ad marker locations, and publishers can replace or reposition them before the podcast episode goes live.

According to data from Pew Research that Spotify cited in its announcement, Gen Z folks prefer to get news through digital mediums, such as podcasts. As such, radio publishers could use this kind of tech to reach new audiences without adding too much more to their workload. Spotify says more than half of Gen Z and millennials in the US use the platform, while it has more than 500 million users globally.

For consumers, the tool will likely bring an even wider selection of podcasts to Spotify. It could give YouTubers and Twitch streamers who host live podcasts an easy way to make their discussions available on Spotify too.

The following article discusses Star Trek: Picard, Season Three, Episode 9, “Võx”

I’ve always found accusations that I hate Star Trek weird, since I make my love of Trek clear enough every time I write one of these reviews. Every time I watch a nü-Trek episode that I’m fortunate enough to do as part of my day job, I hope that I can genuinely talk about it with a sense of love. And so I am delighted to say “Võx” is the best episode of Star Trek: Picard ever made. It is not by any means perfect, but it’s such a leap from what’s gone before I’ve almost got whiplash.

One of the reasons that “Võx” pops is that Picard’s quality ceiling has been relentlessly low over the last three seasons. The other is that the narrative’s brakes are off, allowing events to move at something faster than a snail’s pace. If I was in a less-generous mood, I’d say a lot of this stuff could have happened earlier in the run to improve the overall pacing. One of the biggest issues I’ve had is the very visible stretching of a thin, mystery-box story over a studio-mandated ten-episode running order.

By comparison, this feels like the first free meal after two 500-calorie-only days on the 5:2 fast diet. You devour a 12-inch pizza and, since you’ve starved yourself for the last 48 hours, you feel you deserve to go out for tacos afterward. In this episode, we learn that Jack is, as Reddit clocked weeks back, the product of a union ‘twixt Dr. Crusher and Picard’s Borgified sperm. We also get a whopping retcon to the plot hole in First Contact, where Picard could hear the Borg and knew the location of the cube’s weak spot despite not being connected to the collective.

Jack decides to go off and tackle the Borg Queen (voiced by Alice Krige!) herself, while Geordi, Data and Beverley start examining the conspiracy. The Queen has already picked a Borgified name for Jack — Võx — to commence his Locutus-like transformation as part of the collective, too. The Borg and Changelings are working together – I’d love to see how that meeting went – to undermine the Federation. They’ve set up every transporter in the fleet to re-write the genetic code of the under ‘25s who pass through it, seeding them with Bio-Borg DNA. When Frontier Day happens, the collective activates its new army of drones, who also turn the newly-connected fleet into an armada.

Fleeing a Titan similarly overrun with Bio-Borgs, the TNG crew get into a shuttle while Seven and Raffi guard Shaw, who takes a phaser to the chest. He even gets a nice valediction, finally using Seven’s chosen name to put a button on his much-discussed arc. Not long after, we get the first laugh-out-loud-on-purpose moment in the series when Geordi asks Data to be more optimistic. There’s a simple, glorious pleasure in letting the endlessly-talented Brent Spiner show off his natural comedic flair in the midst of all this darkness.

The gang race back to the Fleet Museum where, again Reddit called this a month or more back, the Enterprise D has been quietly rebuilt in secret by Geordi. There’s some moments of winking at the camera as the production team head off the obvious questions. How? They pulled the saucer section from Veridian to avoid breaking the Prime Directive and cobbled together other parts from other Galaxy Class ships. Why not the E? Blame Worf, now shut up and watch with a smile plastered on your face as they sit in their old chairs. Hell, they’ve even got Majel Barrett Roddenberry’s voice for the Enterprise D computer.

We need to be careful here, because I’ve slammed this series time and again for its empty, paraphilic use of nostalgia. There are plenty of reasons why this makes no logical sense if you take the time to interrogate things. Maybe it’s because the episode moves at such a clip that there’s no time to overthink things before something else happens. Maybe it’s just the thrill of seeing these actors on this bridge, on this carpet, that the bulk of my critical thinking has been bypassed. 

If I have concerns, it’s still about what Picard is trying to say. Relegating the cyberpunk elements of the Borg to make their assimilation more biological could be seen as an anti-vaccination screed. It’s hard to watch yet another TNG side character brutally die – Ro in “Imposters” and Admiral Elizabeth Shelby, captain of the new Enterprise F, taking two in the chest mere moments later here. There’s an argument that leaving Seven and Raffi on the Titan also sidelines the series’ two queer characters. And this subtextual mistrust of youth which was discussed a few episodes back has now been rendered very much part of Picard’s text.

But I will withhold my judgments about that until next week, when we see how those points are handled. For now, I’m going to bask in the very brief glow of my monitor, and how glorious it was when the lights on the Enterprise D bridge raised to old-school TV levels and we could actually see what was going on. The lights went up and so did the mood, and after all this time, it comes as sweet relief. Now, onward to the finale.

The 2023 edition of Coachella gets underway this weekend and, along with having the option to catch livestreams of every stage on YouTube, you can take part in the fun remotely in another way thanks to Fortnite. The festival has once again teamed up with Epic Games to celebrate Coachella.

Features this time around include emotes that have music from headliner Bad Bunny and fellow performer Burna Boy, as well as returning and new Coachella-related outfits that you'll see in the Item Shop starting at 8PM ET this evening. You'll also be able to listen to songs from artists who are performing this weekend on the in-game Icon Radio.

Epic Games/Alliance Studios

You'll be able to experience Coachella in other ways in Fortnite this year. Starting at 3PM ET today, you can dive into Coachella Island from the Epic’s Picks Discover row in the game mode browser or by entering the island code 5449-4207-12803.

The music-reactive island takes inspiration from Coachella's California desert setting, so you can expect to see mountains, polo fields and palm trees. In the Art Park section, you'll be able to check out replicas of art installations found at the real-life version of Coachella. On top of that, you can try some team-based minigames centered around dancing and parkour.

Players will have the chance to scoop up Coachella-inspired outfits and in-game items from a merch tent. There's a music element here as well of course, as you'll be able to hear tracks from Coachella performer Porter Robinson while you're on the island (or by clicking the play button below, because why not).

Easily one of the most fascinating devices I've had the pleasure of reviewing is the Polyend Tracker. It's hard to overstate what a unique piece of hardware it is. The company followed up last year with the Play, another sample-based groovebox that took a more immediate approach to music creation. Now the company is back, yet again, taking its undeniable sampling prowess mobile with the Tracker Mini.

The Mini takes the core workflow of the original Tracker and shrinks it down to something under one pound, and just 6.7 by 5.1 inches. That's not the smallest groovebox in the world, but quite a bit smaller than something like the SP-404 MKII. It retains full compatibility with the Tracker though, so you can start a song in the studio and finish it on the go, or vice versa. 

The Tracker Mini does lack the satisfying jog wheel, versatile pads and FM radio, but it does gain a microphone and a built-in battery. What's more, it actually has more memory and a faster CPU, so the Mini can hold up to eight minutes of mono samples in its pool, up from just two. Plus it supports audio over USB, stereo sampling and even comes with it's own hard case — a must have for protecting your music making gear on the go.

The 4310 mAh batter should last up to eight hours on a charge, though that will largely depend on how you're using the device, obviously. The mechanical keyboard style controls and jog wheel are replaced with gamepad style buttons. It may make navigating the interface slightly more difficult, but many of the shortcut and function keys made the transition. So creating a track shouldn't require to much menu diving or gratuitous button presses. 

Most importantly, though, it has eight tracks of audio and / or MIDI, all the same sample editing tools, effects, beat slicing features, granular and wavetable synthesizers. It is easily capable of not just sketching out an idea, but building an entire song or even album. It looks likely to be one of the most powerful and interesting portable grooveboxes on the market when it starts shipping in July. You can preorder one now directly from Polyend or through retailers like Perfect Circuit for $699.

Arkansas has become the second state to pass a law requiring social media platforms to verify the ages of their users. Governor Sarah Huckabee Sanders has signed the “Social Media Safety Act” into law, which requires companies verify the ages of users under 18 and to gain parental consent before minors create new accounts.

Utah recently passed similar measures, which also impose strict rules on how social media platforms handle the accounts of their youngest users, including an age verification requirement. The laws are part of a growing movement to enforce age verification measures and other age-based restrictions for social media companies. At least three other states are currently considering similar legislation.

The laws are also controversial. While lawmakers have for years called for more protections for teens on social media, privacy advocates and civil rights groups have opposed age verification mandates. Likewise, some child safety groups have argued that comprehensive privacy legislation would be a more effective way to protect children.

Under the Arkansas law, slated to take effect in September, companies are required to check the ages of their users via government-issued IDs like a driver’s license or “any commercially reasonable age verification method.” But, as CNNnotes, it’s not entirely clear which companies will be forced to comply with the law. The legislation includes a number of exemptions that would seem to excuse some prominent platforms.

For example, it states that platforms focused on “professional networking” and “career development” are exempt, which would seem to be a direct reference to LinkedIn. It also has exceptions for gaming-focused companies, as well as companies that allow “a user to generate short video clips of dancing, voice overs, or other acts of entertainment in which the primary purpose is not educational or informative,” which could be interpreted as excluding TikTok.

There are many things I think of when I hear the name "Max." There's Max Headroom, the '80s AI icon that's been on my mind a lot lately. Mad Max! Max Payne! Every friend I've ever had named Max (whose names I've always been jealous of). Even Homer Simpson's alternate persona, Max Power. But there's no universe where I associate "Max" with HBO, even though we've been living with "HBO Max" for years. "HBO" was always the dominant part of that name, whereas "Max" felt like a vestigial remnant from its sister network Cinemax.

Warner Bros.

So I'm sure that many viewers will be surprised to learn that HBO Max will be rebranded as "Max" on May 23rd. Warner Bros. CEO David Zaslav, who spearheaded the $43 billion merger between WB and his previous company Discovery, announced the new service during a media event this morning. It's been a year since Zaslav finalized that merger and announced his intentions to combine each network's content. And, given the increasingly volatile world of streaming media, he likely had to move quickly. But the rebranding seems like a missed opportunity to align the new service with something people already know and love.

Now, to be clear, Zaslav's desire to build something new makes sense. HBO Max's May 2020 launch was notoriously rocky, so much so that it led to a round of executive firings. HBO Max was a blatant attempt to catch up with Disney+, which hit 10 million subscribers just a day after its debut. But it couldn't compete with Disney's seemingly limitless library of content. A month after HBO Max arrived, AT&T (TimeWarner's owner at the time) said the service only had 4.1 million active users. The company tried to make it seem more popular by saying it had 23.6 million "wholesale" subscribers, but those were mostly existing HBO customers who had never touched the HBO Max app.

As a relatively new Warner Bros. leader, Zaslav likely wanted to make a mark with a service of his very own. (Media executives just can't help themselves, remember Jeffrey Katzenberg's Quibi?) So long HBO Max, hello something that combines HBO's prestigious content with Discovery's vast library of unscripted reality shows. During today's media event, Warner Bros. executives stressed that the company wanted to highlight HBO's world-renowned branding — "HBO is not TV, HBO is HBO!" someone proclaimed boldly. But they also hinted that the company didn't want to stuff too much into "HBO" as a concept.

I also bet that Zaslav and crew talked to plenty of advisors and focus groups who made it clear that HBO would never be considered as family-friendly as Disney. A cautious parent may not want to subscribe to an HBO service, even if it was the only way to watch a new Discovery series for kids. As one WB executive pointed out, the company used to see double-digit shares of kids programming across their many networks, but that's "virtually disappeared" in the streaming era.

With the Max refresh, Warner Bros. is trying to fix many of HBO Max's underlying problems. The company says it's aiming to increase engagement (having a ton of new content helps!), enhance retention, strengthen performance and optimize monetization. A carousel of personalized recommendations should help to surface content users may ignore, and WB says Max will also be able to alert people if their subscription payments fail. These are basic features for any modern subscription service, so it's shocking to learn that HBO Max couldn't manage them on its own.

Of course, WB is also trying to "optimize monetization" by raising the subscription cost for 4K viewers. If you want to see Game of Thrones or the upcoming Flash movie in 4K, you'll need to spend $4 more for Max's "Ultimate tier." That's similar to Netflix's 4K strategy, so it's not entirely surprising, but it's still annoying. 

Let me be truly cynical: It doesn't really matter what Max is called. We're awash in terribly-named streaming services, like Peacock and Paramount+. It would have been nice to see WB highlight one of its most prominent properties, but lopping off the first half of HBO Max probably makes more sense than trying to hype up another ridiculous media name (Hulu somehow made it work, but Quibi will forever sound dumb). 

No matter what it's called, we'll still rush to Max to catch the latest episode of Succession or The Last of Us. In this era of streaming networks dumping mountains of content on us, it's somewhat refreshing to have premium shows airing weekly. That gives us time to truly absorb major events (like the most recent Succession shocker), and space to anticipate what comes next. Ultimately, that's HBO's superpower, and Zaslav knows it. When combined with the onslaught of cheap and addictive content from Discovery, he might be able to turn Max into a true Disney+ competitor.

Soon, when you go to stream Succession or The Last of Us, you'll no longer be looking for an app called HBO Max. As has been rumored, Warner Bros. Discovery (WBD) is changing the name of the streaming service to simply "Max." The company is folding content from Discovery+ into the platform to make it more of a one-stop shop, though Discovery+ will remain as a standalone service in the US.

The big switch will take place on May 23rd — almost exactly three years after HBO Max debuted. WBD previously said it would combine the streaming services sometime this spring. WBD CEO David Zaslav suggested during a press event that, in the coming months, Max will fold in sports and other live content. The company plans to add an average of more than 40 new titles and TV show seasons each month.

There will be three pricing tiers. An ad supported plan will cost $10 per month or $100 per year. It will allow users to stream HD video on two devices simultaneously.

The ad-free plan won't have an immediate price hike as it will remain $16 per month (or $150 per year) for the time being. WBD raised the price of that plan for the first time back in January. That also supports HD streaming on two devices simultaneously with up to 30 offline downloads.

There will also be an "ultimate ad-free" plan that costs $20 per month or $200 per year. That's the option you'll need to plump for it you want to stream shows and movies in 4K. It supports 4K UHD streams on up to four devices at once with up to 100 downloads for offline viewing.

WBD's presentation highlighted some of the content that's coming to Max, including a first look at The Penguin, an eight-episode miniseries that ties into The Batman. An It prequel called Welcome to Derry is on the way, as is a show based on The Conjuring and a Big Bang Theory follow-up series. 

Elsewhere, content that was in the works for Discovery+ will move over to Max, such as reality programming featuring Robert Downey Jr. and all-time great snowboarder and skateboarder Shaun White. A docuseries featuring Jason Bateman, Will Arnett and Sean Hayes as they tour the US with a live version of their podcast, SmartLess, will drop on Max's launch day. Also coming to the platform on May 23rd is Shazam! Fury of the Gods.

There's some logical reasoning behind shortening the name to Max. It's now about more than HBO and nods toward a more expansive array of shows, movies and other content that's on offer. Executives were reportedly concerned that keeping HBO in the platform's name could weaken that brand if consumers associate it with all the content on the platform, such as the impending influx of reality shows from Discovery+.

However, the rebranding strips away the name value of HBO and the implied level of quality that has been associated with that brand for decades. Max is a bad, soulless name with zero identity of its own. 

Since WBD was formed as a result of a merger between WarnerMedia and Discovery last year, the company's leadership has overhauled its streaming strategy in a bid to cut costs and improve the bottom line. Executives swung the ax on an array of HBO Max exclusives, reportedly in favor of tax breaks. WBD also removed several shows and many episodes of popular series from HBO Max. The company has started licensing out some of its programming to other platforms to add some extra revenue streams.

Developing...

The Library of Congress has announced the latest batch of 25 recordings that are joining the National Recording Registry. There are many notable songs among the lineup, including “Like a Virgin,” "All I Want For Christmas Is You," "Stairway To Heaven," and “Sweet Dreams (Are Made of This)." Carl Sagan's reading of his book, Pale Blue Dot, is also being inducted. But there's one particular composition that's making its own slice of history, as Koji Kondo's Super Mario Bros. theme becomes the first piece of video game music to enter the registry.

The Mario overworld music, which is officially titled "Ground Theme," is "perhaps the most recognizable video game theme in history," according to the Library of Congress. It's hard to argue with that. Kondo (pictured above left) took inspiration from Japanese jazz fusion band T-Square and Latin music to create magic on the Nintendo Entertainment System's five-channel sound chip for the original 1985 game.

“The amount of data that we could use for music and sound effects was extremely small, so I really had to be very innovative and make full use of the musical and programming ingenuity that we had at the time,” Kondo told the Library of Congress. “I used all sorts of genres that matched what was happening on screen. We had jingles to encourage players to try again after getting a ‘game over,’ fanfares to congratulate them for reaching goals and pieces that sped up when the time remaining grew short."

Kondo, who said it was an honor to have his work placed in the National Recording Registry, is still working for Nintendo. Most recently, you may have heard his work in The Super Mario Bros. Movie.

The Library of Congress houses millions of books, recordings, photos, newspapers, maps and manuscripts. For several years, it also attempted to archive every single tweet. So, you may find it comforting to know that the legendary Mario theme is now immortalized alongside a slapdash post about what you had for breakfast in 2011.

Don't expect a blistering frame rate on your Xbox when Redfall arrives on May 2nd. Arkane Studios has revealed that the vampire-slaying shooter will be limited to the 30 frames per second "Quality" mode on Xbox Series X and S at launch. You'll have to wait for an update at an unspecified point in time to use a 60 fps "Performance" option.

The developers haven't explained why the 60 fps mode will have to wait. We've asked Arkane and Bethesda for comment. The 30 fps mode runs at 4K on Xbox Series X, and 1440p on Series S. PC players' frame rates are dictated by their hardware.

Typically, 60 fps modes in games require compromises in visual detail. You may have to run a title at a lower resolution, accept lower-quality effects or settle for fewer on-screen characters. It's not necessarily a simple matter of changing a few parameters — developers may have to verify that they aren't breaking the experience.

Whatever the reasons, this isn't thrilling news for Xbox gamers. Redfall is a fast-paced game that can benefit from the added responsiveness of a 60 fps mode. Its temporary absence won't necessarily detract from the core gameplay, but might prove disappointing if you're the sort who happily sacrifices lush graphics in the name of a smoother experience.