It’s 1995, and I’m trying to watch a video on the internet. I entered the longest, most complex URL I’d ever seen into AOL’s web browser to view a trailer for Paul W.S. Anderson’s long-awaited film adaptation of Mortal Kombat. I found it in an issue of Electronic Gaming Monthly, tucked away in the bottom of a full-page ad for the film. Online marketing at the time was such an afterthought, studios didn’t even bother grabbing short and memorable web addresses for their major releases, let alone dedicated websites. (Star Trek Generations and Stargate were among the few early exceptions.)

After the interminable process of transcribing the URL from print, I gathered my family around our Packard Bell PC (powered by an Intel 486 DX and, let’s say, 8MB of RAM), hit return and waited as the video slowly came down our 33.6kbps dial-up connection. And waited. It took 25 minutes for it to fully load. After corralling my family once again, I hit play and was treated to an horrendously compressed, low-resolution version of the trailer I’d been dreaming about for months. It was unwatchable. The audio was shit. But that was the moment I became obsessed with online video.

I imagined a futuristic world beyond my boxy CRT set and limited cable TV subscription. A time after VHS tapes when I could just type in a URL and enjoy a show or movie while eating one of those rehydrated Pizza Hut pies from Back to the Future 2. The internet would make it so.

Looking back now, almost 30 years later, and 20 years after Engadget sprung to life, I realize my 11-year-old self was spot on. The rise of online video transformed the internet from a place where we’d browse the web, update our LiveJournals, steal music and chat with friends on AIM to a place where we could also just sit back and relax. For Millennials, it quickly made our computer screens more important than our TVs. What I didn’t expect, though, was that streaming video would also completely upend Hollywood and the entire entertainment industry.

If my experience with the Mortal Kombat trailer didn’t make it clear enough, video was a disaster on the internet in the ’90s. Most web surfers (as we were known as the time) were stuck with terribly slow modems and similarly unimpressive desktop systems. But really, the problem goes back to dealing with video on computers.

Apple’s Quicktime format made Macs the ideal platform for multimedia creators, and, together with its Hypercard software for creating interactive multimedia databases, it spawned the rise of Myst and the obsession with mixed-media educational software. PCs relied on MPEG-1, which debuted in 1993 and was mainly for VCDs and some digital TV providers. The problem with both formats was space: Hard drives were notoriously small and expensive at the time, which made CDs the main option for accessing any sort of video on your computer. If your computer only had a 500MB hard drive, a slim disc that could store 650MB seemed like magic.

But that also meant video had no place in the early internet. RealPlayer was the first true stab at delivering streaming video and audio online — and while it was better than waiting 20 minutes for a huge file to download, it was still hard to actually stream media when you were constrained by a dial-up modem. I remember seeing buffering alerts more than I did any actual RealPlayer content. It took the proliferation of broadband internet access and one special app from Adobe to make web video truly viable.

While we may curse its name today, it’s worth remembering how vital Macromedia Flash was to the web in the early 2000s. (We’ve been around long enough to cover Adobe’s acquisition of Macromedia in 2005!) Its support for vector graphics, stylized text and simple games injected new life into the internet, and it allowed just about anyone to create that content. HTML just wasn’t enough. Ask any teen or 20-something who was online at the time, and they could probably still recite most of The End of the World by heart.

With 2002’s Flash MX 6, Macromedia added support for Sorenson’s Spark video codec, which opened the floodgates for online video. (It was eventually replaced in 2005 by the VP6 codec from On2, a company Google acquired in 2009.) Macromedia’s video offering looked decent, loaded quickly and was supported on every browser that had the Flash plugin, making it the ideal player choice for video websites.

The adult entertainment industry latched onto Flash video first, as you’d expect. Porn sites also relied on the technology to lock down purchased videos and entice viewers to other sites with interactive ads. But it was YouTube (and, to a lesser extent, Vimeo) that truly showed mainstream users what was possible with video on the internet. After launching in February 2005, YouTube grew so quickly it was serving 100 million videos a day by July 2006, making up 60 percent of all online videos at the time. It’s no wonder Google rushed to acquire the company for $1.65 billion later that year (arguably the search giant’s smartest purchase ever).

After YouTube’s shockingly fast rise, it wasn’t too surprising to see Netflix announce its own Watch Now streaming service in 2007, which also relied on Flash for video. At $17.99 a month for 18 hours of video, with a library of only 1,000 titles, Netflix’s streaming offering didn’t seem like much of a threat to Blockbuster, premium cable channels or cinemas at first. But the company wisely expanded Watch Now to all Netflix subscribers in 2008 and removed any viewing cap: The Netflix binge was born.

It’s 2007, and I’m trying to watch a video on the internet. In my post-college apartment, I hooked up my desktop computer to an early-era (720p) Philips HDTV, and all of a sudden, I had access to thousands of movies, instantly viewable over a semi-decent cable connection. I didn’t need to worry about seeding torrents or compiling Usenet files (things I’d only heard about from dirty pirates, you see). I didn’t have to stress about any Blockbuster late fees. The movies were just sitting on my TV, waiting for me to watch them. It was the dream for digital media fanatics: Legal content available at the touch of a button. What a concept!

Little did I know then that the Watch Now concept would basically take over the world. Netflix initially wanted to create hardware to make the service more easily accessible, but it ended up spinning off that idea, and Roku was born. The company’s streaming push also spurred on the creation of Hulu, announced in late 2007 as a joint offering between NBCUniversal and News Corp. to bring their television shows online. Disney later joined, giving Hulu the full power of all the major broadcast TV networks. Instead of a stale library of older films, Hulu allowed you to watch new shows on the internet the day after they aired. Again, what a concept!

Amazon, it turns out, was actually earlier to the streaming party than Netflix. It launched the Amazon Unbox service in 2006, which was notable for letting you watch videos as they were being downloaded onto your computer. It was rebadged to Amazon Video On Demand in 2008 (a better name, which actually described what it did), and then it became Amazon Instant Video in 2011, when it was tied together with premium Prime memberships.

As the world of streaming video exploded, Flash’s reputation kept getting worse. By the mid-2000s, it was widely recognized as a notoriously buggy program, one so insecure it could lead to malware infecting your PC. (I worked in IT at the time, and the vast majority of issues I encountered on Windows PCs stemmed entirely from Flash.) When the iPhone launched without support for Flash in 2007, it was clear the end was near. YouTube and other video sites moved over to HTML5 video players at that point, and it became the standard by 2015.

By the early 2010s, YouTube and Amazon weren’t happy just licensing content from Hollywood, they wanted some of the action themselves. So the original programming boom began, which kicked off with mostly forgettable shows (anyone remember Netflix’s Lillyhammer or Amazon’s Alpha House? Hemlock Grove? They existed, I swear!).

But then came House of Cards in 2013, Netflix’s original series created by playwright Beau Willimon, executive produced (and partially directed) by renowned filmmaker David Fincher and starring Oscar winner Kevin Spacey (before he was revealed to be a monster). It had all of the ingredients of a premium TV show, and, thanks to Fincher’s deft direction, it looked like something that would be right at home on HBO. Most importantly for Netflix, it got some serious awards love, earning nine Emmy nominations in 2013 and walking away with three statues.

By that point, we could watch streaming video in many more places than our computer’s web browser. You could pull up just about anything on your phone and stream it over 4G LTE, or use your smart TV’s built-in apps to catch up on SNL over Hulu. Your Xbox could also serve as the centerpiece of your home entertainment system. And if you wanted the best possible streaming experience, you could pick up an Apple TV or Roku box. You could start a show on your phone while sitting on the can, then seamlessly continue it when you made your way back to your TV. This was certainly some sort of milestone for humanity, though I’m torn on it actually being a net win for our species.

Instant streaming video. Original TV shows and movies. This was the basic formula that pushed far too many companies to offer their own streaming solutions over the past decade. In the blink of an eye, we got HBO Max, Disney+, Apple TV+, Peacock, and Paramount+. There’s AMC+, powered almost entirely by the promise of unlimited Walking Dead shows. A Starz streaming service. And there are countless other companies trying to be a Netflix for specific niches, like Shudder for horror, Criterion Channel for cinephiles and Britbox for the tea-soaked murder-mystery crowd.

And let’s not forget the wildest, most boneheaded streaming swing: Quibi. That was Dreamworks mastermind Jeffrey Katzenberg’s nearly $2 billion mobile video play. Somehow he and his compatriots thought people would pay $5 a month for the privilege of watching videos on their phones, even though YouTube was freely available.

Every entertainment company thinks it can be as successful as Disney, which has a vast and beloved catalog of content as well as full control of Lucasfilm and Marvel’s properties. But, realistically, there aren’t enough eyeballs and willing consumers for every streaming service to succeed. Some will die off entirely, while others will bring their content to Netflix and more popular services (like Paramount is doing with Star Trek Prodigy). There are already early rumors of Comcast (NBCUniversal’s parent company) and Paramount considering some sort of union between Peacock and Paramount+.

Online video was supposed to save us from the tyranny of expensive and chaotic cable bills, and despite the messiness of the arena today, that’s still mostly true. Sure, if you actually wanted to subscribe to most of the major streaming services, you’d still end up paying a hefty chunk of change. But hey, at least you can cancel at will, and you can still choose precisely what you’re paying for. Cable would never.

It’s 2024, and I’m trying to watch a video on the internet. I slip on the Apple Vision Pro, a device that looks like it could have been a prop for The Matrix. I launch Safari in a 150-inch window floating above my living room and watch the Mortal Kombat trailer on YouTube. That whole process takes 10 seconds. I never had the chance to see the trailer or the original film in the theater. But thanks to the internet (and Apple’s crazy expensive headset), I can replicate that experience.

Perhaps that’s why, no matter how convoluted and expensive streaming video services become, I’ll always think: At least it’s better than watching this thing over dial-up.

To celebrate Engadget's 20th anniversary, we're taking a look back at the products and services that have changed the industry since March 2, 2004.

X has updated its abuse and harassment page in January, and it has added a new section that explains its new rule against intentionally using the wrong pronouns for a person or using a name they no longer go by. As noticed by Ars Technica, the new section entitled "Use of Prior Names and Pronouns" states that the service will "reduce the visibility of posts" that use pronouns for a person different from what they use for themselves and those who are now using a different name as part of their transition. 

The social networking service formerly known as Twitter removed its longtime policy against deadnaming and misgendering transgender individuals just as quietly back in April 2023. GLAAD CEO Sarah Kate Ellis said at the time that X's decision was "the latest example of just how unsafe the company is for users and advertisers alike." It's worth noting that Elon Musk, the website's owner, has a history of liking and sharing anti-trans posts and talking points. 

Under the new policy, X will only act on a post if it hears from the target themselves "given the complexity of determining whether such a violation has occurred." That puts the onus on the target who might end up being blamed for not reporting if they choose to distance themselves from the abuse. Jenni Olson, GLAAD's senior director of social media safety, told Ars that the organization doesn't recommend self-reporting for social media platforms. Still, policies clearly prohibiting the deadnaming and misgendering of trans people are still better than vague ones that don't clarify whether or not they're in violation of a platform's rules, Olson said. 

X reduces the visibility of posts by removing them from search results, home timelines, trends and notifications. These posts will also be downranked in the replies section and can only be discovered through the authors' profiles. Finally, they will not be displayed on the X website or app with ads adjacent to them, which could prevent a repeat of the ad revenue losses the company suffered last year. In late 2023, advertisers pulled their campaigns from the website just before the holidays after Media Matters published a report showing ads on the website right next to antisemitic content.

In early April, the Facebook News tab will start disappearing for users in the US and Australia. Meta has announced that it's deprecating the dedicated tab found in the bookmarks section of its social network as part of its efforts to "align [its] investments to [its] products and services people value the most." The company already retired the News tab in the UK, France and Germany in early December 2023, explaining that it's funneling its resources to other things that people want to see more of, such as short form videos. 

In Meta's new post, it said the number of people using the News tab in the US and Australia over the past year has dropped by 80 percent. News makes up less than three percent of what users see on Facebook apparently, and it's just not a big part of their experience. "We know that people don’t come to Facebook for news and political content — they come to connect with people and discover new opportunities, passions and interests," the company wrote. 

By pulling the News tab in Australia, the company will also stop paying publishers in the country for their content after their current deals end. A few years ago, Facebook blocked news links in the country in response to the then-proposed law that would require companies like Meta to pay media organizations for their content. The company unblocked news links just a few days later after it started striking deals with Australian media organizations.

According to The Age, the Australian Competition and Consumer Commission believes that Google and Meta inked deals with dozens of outlets, including Guardian Australia and News Corp Australia, worth about $200 million a year. Meta is responsible for around one-third or $66 million of that total amount, meaning its decision is bound to have a huge impact on the news business in the country. And there seems to be no room for negotiation: The company made it clear in its announcement that it's not going to enter new commercial deals for traditional news content in any of the regions where it has already removed the News tab. 

Meta has not blocked news links in the aforementioned countries, however, and Facebook users can still access any that's been posted on the social network. Publishers can also continue posting links to their stories on their official pages as usual. 

Let's all take a breath. Layoffs are still churning in the video game industry, even as the frigid winter air is beginning to thaw. Amid the turmoil of these past few months, there are still things to be excited about: new games and hardware, the evolution of established franchises, and plenty of small teams building surprises to shake up the status quo. Look at all of the rad things happening over at Playdate for just one example of positive momentum in video games (we'll talk more about this next week).

Breathe in, breathe out.

Now, let's dive back into the news cycle:

This week's stories

PlayStation layoffs

The layoffs crisis in video games isn’t slowing down, and the latest company to announce drastic staffing cuts is PlayStation. Sony on Tuesday fired roughly 900 people from its PlayStation division and fully shut down its London Studio, which had been building a co-op multiplayer game for PS5. Insomniac, Naughty Dog and Guerrilla all lost employees, despite being behind some of the platform’s most successful games in recent memory. First-party studio Firesprite was also hit by the layoffs, and it reportedly had to cancel a live-service Twisted Metal project. It’s barely March, but already more than 7,000 video game workers have been laid off in 2024; last year, more than 9,000 people in the industry lost their jobs to layoffs.

Happy Pokémon Day!

February 27 was Pokémon Day, and in celebration, Nintendo revealed two new games: Pokémon Legends Z-A and Pokémon Trading Card Game Pocket. Pokémon Legends Z-A is set in Lumiose City, which you might remember from Pokémon X and Y on the 3DS, and it looks like it features Mega Evolutions. Pokémon Legends Z-A is due to hit Switch in 2025. The other title, Pokémon Trading Card Game Pocket, is a mobile game that should land on Android and iOS devices by the end of the year. It’s exactly what it sounds like — Nintendo is putting the physical card-opening mechanic inside your phone, complete with flashy animations and addictive sound effects when you rip off the digital packaging. You’ll also be able to engage in quick battles. Nintendo has clarified that Pocket will not have NFTs, but it is described as “free to start,” so expect microtransactions.

Random PR roundup

It’s been a strange and slow week here in Engadget video game land, so I thought we’d have some fun this episode. As tech reporters, we receive ridiculous emails from startups and PR agencies literally every day, and even though we don’t end up covering many of the proposed products, some of the messages themselves deserve a moment in the spotlight. Many of the pitches we get are just silly or tone deaf, but some of them are outright dystopian. And honestly, I thought you all might enjoy seeing some of the weirdness that hits our inboxes.

This is all meant in good fun — I appreciate the communications teams who are just trying to sell their stuff in creative ways. The real enemy here, as always, is capitalism.

So, here are some emails that recently found their way into my inbox and made me go wut:

GameScent - New Groundbreaking Device Enhances Player Immersion by Releasing Gameplay Corresponding Scents

“As players dive into a game, GameScent’s patent-pending adaptor captures audio in real-time. These real-time audio cues are processed by GameScent's innovative AI to release scents that correspond with the on-screen action. Inhale the smoky aroma of battle, the exhilarating scent of speeding race cars, the calming fragrance of a forest, or the fresh smell of rain after a storm.”

Unsurprisingly, this little doodad comes with replaceable scent cartridges, though it's unclear how to actually buy those at the moment. Scents include gunfire, explosion, racing cars, blood, sports arena and other brotastic flavors.

Is this... cool? There's definitely a fun idea here about the future of immersion, right? Or I've completely lost the plot. Either could be true.

Seeking Products for Pickleball Stories? (Samples Available)

Ma'am, this is Engadget.

Deconstructeam Delivers a Valentine's Day Surprise of Cosmic Proportions

This was for the game The Cosmic Wheel Sisterhood, and the surprise was a huge dildo. I thought the whole email was cute, actually — it was tasteful and coyly advertised a giveaway in partnership with a well-known adult toy company. The Cosmic Wheel Sisterhood is a sexy game and it stars a muscular behemoth the size of a planet, so it all made sense. It just didn’t fit in our general news feed, ya know?

(Story Idea:) Here’s Doom Running On A Robotic Lawn Mower: Yes, A Robotic Lawn Mower! (You Have To See It To Believe It!) (Video Included)

"I am reaching out with a great story that is sure to go viral… This spring, Husqvarna will make the iconic 1993 video game DOOM, available to play on the company’s robotic lawn mowers."

I find this email charming because it’s just a traditional, infomercial-style email with lots of unnecessary exclamation points and parenthesis. I respect it. But seriously, are we still doing this Doom thing? Next you’ll be asking me if this lawn mower can run Crysis and making jokes about Leeroy Jenkins, and I’m just here in 2024, begging for some new references.

The best part of this one is the fact that, after I added it to my list of silly emails, we actually hit this as news on Engadget dot com. Who's the joke now? (It's me).

Meet My Regina | PC Preview – Dickhead-Destroying Extravaganza Cookie Cutter

“I’ve got something to show you, Jessica.

She’s one of the most incredible things I’ve ever held between my legs.

She’s small but tough and can take a beating.

And everyone knows she’s smart because she has a British accent.

She’ll giggle if you tickle her just right.

And she even glows in the dark!

Are you ready to meet her?

Well, are you?

Don’t be shy now.

Good. Well, here she is!”

I asked to be removed from this list.

Bonus Content

• In more layoffs news, Until Dawn studio Supermassive Games fired about a third of its workforce, or roughly 90 employees, and the team is reorganizing. Also, indie studio Die Gut Fabrik, which created Sportsfriends, Johann Sebastian Joust and Saltsea Chronicles, has halted production amid funding issues and developers there are looking for other jobs.

• Nintendo is suing Yuzu, a popular and long-running emulator that allows players to put their Switch games on other platforms. Nintendo argues that the app is "facilitating piracy at a colossal scale,” and says it illegally circumvents DMCA protections. Nintendo wants Yuzu shut down and the company is seeking damages.

• Final Fantasy 7 Rebirth finally comes out on February 29 and our review from Mat Smith is live now. He’s a really big Final Fantasy nerd, and he really liked Rebirth.

Now Playing

Home Safety Hotline is the perfect game to play at your desk, on the PC, so you can let the mid-90s computer interface fully engulf your senses. In this game, you take calls from people complaining about pests and paranormal creatures invading their homes, and using a detailed reference guide, you identify what’s going on and help them sort it out. Or, you get it wrong and get fired while a family of three screams for their lives on the other end of the line. There’s also a broader meta-horror unfurling in the background, and I’m having a lovely, spooky time sorting through all of it. Home Safety Hotline is out now on Steam.

X's audio chat rooms called Spaces can now broadcast live video, but only for those hosting the session. As The Verge reports, a Dogecoin designer posted an official walkthrough of the feature on the platform formerly known as Twitter. Hosts will now be able to choose whether to enable video and switch on their cameras when they create a Space. They can then broadcast with either their front or rear cameras and in vertical or landscape orientation. We're still not seeing the option to enable video in Spaces on Android, but it's reportedly already available for iOS devices. 

The platform already has a separate feature allowing users to broadcast live video, but that option's not quite as interactive as a Space. In a Space session, participants can still speak or co-host, even though only the host has the capability to broadcast live video.

Based on follow-up posts by some users, X has to fix a few bugs and other issues for the feature to work smoothly. Enabling video apparently introduces quite a lengthy lag into chat sessions, and broadcasting in landscape makes it impossible to manage a Space, since the video takes up the screen. Also, participants on desktop don't have the ability to see videos yet. Mobile users that do see videos are shown an interface that prominently displays the host's visual feed next to participants' user icons. The Verge says videos only live inside the chat sessions as they happen in real time and that users will have to join to see them, which means recorded Spaces are still audio-only at the moment. 

Apple TV+ has announced it's adapting William Gibson's Neuromancer into a 10-episode series. The novel debuted in 1984 and is largely thought to mark the birth of cyberpunk, which includes creations like The Matrix and Robocop. In fact, it's crazy that it has taken four decades for it to get the Hollywood treatment. 

Neuromancer follows "a damaged, top-rung super-hacker named Case who is thrust into a web of digital espionage and high stakes crime with his partner Molly, a razor-girl assassin with mirrored eyes aiming to pull a heist on a corporate dynasty with untold secrets," a release states. The story is being brought to the small screen by Graham Roland (Dark Winds, Tom Clancy's Jack Ryan) and JD Dillard (Devotion, Sweetheart), who will act as showrunner and director, respectively. Skydance Television and Anonymous Content will co-produce it with support from Drake's DreamCrew Entertainment.

Production on Neuromancer has yet to start, so details like the cast and release date are still up in the air. In the meantime, you can check out the existing video game and graphic novel versions of Neuromancer and Amazon's series, The Peripheral, based on another one of Gibson's works and starring Chloë Grace Moretz. 

Panic just held a games showcase for its portable Playdate console, revealing over a dozen upcoming exclusives. The company also announced a March 12 release date for the long-anticipated Mars After Midnight, which is likely the console’s first marquee title.

Mars After Midnight is a game created by renowned developer Lucas Pope, the guy behind Papers, Please and Return of the Obra Dinn. Both of these titles were critically acclaimed and commercially successful.

Mars After Midnight looks to take a few cues from Papers, Please, as you play as a door guard of an alien colony tasked with letting people in. The lo-res graphics look stunning, which is a calling card of both Pope and the Playdate itself. It also makes use of the console’s adorable little crank.

However, Lucas Pope’s latest creation wasn’t the only news to come from today’s presentation. Panic also showed off 16 games that are scheduled to hit the platform “in 2024 and beyond.” These include a cool-looking rogue-like/golf hybrid called Faraway Fairway, the pixel-art brawler Midnight Raider and a sci-fi RPG named For Home, among 13 others.

Company CEO Cabel Sasser also took the time to reiterate that the Playdate console is actually now available to purchase, with no wait times. This was a long time coming and Panic says it has finally “caught up” with the more than 70,000 preorders.

The Playdate online store, called the Catalog, is approaching its one-year anniversary. To celebrate, Panic is holding its first-ever storewide sale from March 7 to March 14. Many of the titles are already pretty cheap, so console owners will likely have a field day here.

For the uninitiated, the Playdate is a truly unique portable gaming console. It’s cute and bright yellow, with a manually-operated crank that's used as an additional control mechanism in many games. Each $200 console comes with 24 free titles, with two unlocking each week for 12 weeks.

It's been a bleak year so far for the gaming industry, between mass layoffs, projects getting canceled and studios shutting down. There are some specks of light in the darkness, though, thanks to a few surprise hits like Palworld and Helldivers 2, while there are still some studios opening up. One of those is BulletFarm, a nascent NetEase studio led by a former Call of Duty multiplayer designer.

Studio head David Vonderhaar will draw from his experience of working on the Call of Duty: Black Ops series for his latest project, a co-op game set in an original universe. The studio is aiming to offer "a fresh take on first-person gameplay." Vonderhaar describes the project as a "departure from the games I’ve worked on, but one that showcases my passion for rich characters, precise mechanics, more intimate storytelling and plenty of action."

BulletFarm is currently hiring workers for the project and, although it's headquartered in Los Angeles, it's a remote-first studio. That could make BulletFarm an enticing prospect for game developers who have lost their jobs over the last several months and may not be able to move to Southern California.

The game industry is said to have cut more than 16,000 jobs since the beginning of 2023, so there are a lot of talented people looking for work. One new studio isn't going to fix that massive labor problem, but it's a step in a positive direction.

After roughly a decade, multiple leadership changes and a regular spot in Apple rumor reports, the Apple Car project, internally known as Project Titan, could well be dead. A new report from Bloomberg’s Mark Gurman says Apple has officially canceled the car, breaking the news to nearly 2,000 employees working on it.

Apple will reportedly move “many employees working on the car” to the company’s artificial intelligence division where they will focus on generative AI projects, which Apple is expected to share more about later this year.

Leaks over the years revealed the company’s ambitions to expand into a brand-new product category. At the beginning of the project in 2014, Apple wanted to build a fully self-driving car without pedals or a steering wheel, with a remote command center ready to take over for a driver. More recently, Apple pared down its ambitions, with the most recent reports suggesting Apple’s car would be a more standard electric vehicle.

Now, we may never know. Would you have bought an Apple car?

— Mat Smith

The biggest stories you might have missed

Which iPhone should you buy?

Amazon accused of using AI to ‘replicate the voices’ of actors in Road House remake

PlayStation is laying off 900 staff across Naughty Dog, Insomniac and other studios

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Pokémon Legends: Z-A for Switch returns the series to Lumiose City

It could be the first Pokémon game for Nintendo’s next console.

The Pokemon Company

The Pokémon Company revealed the franchise’s latest Legends entry on Tuesday. Pokémon Legends: Z-A returns the series to Lumiose City, last seen as a region in Pokémon X and Y on the Nintendo 3DS. The Pokémon Legends: Z-A trailer — an extended teaser — doesn’t show any gameplay footage, and its shots of Lumiose City use wireframe models to tease a city in mid-development, according to the announcement.

Continue reading.

TikTok is muting more songs following its Universal Music royalties fight

Millions more tracks are likely to vanish.

TikTok is being forced to take down more music from its platform. Universal Music Group (UMG) recently yanked recordings it owns or distributes from TikTok, including tracks from superstars like Taylor Swift, Billie Eilish and The Weeknd. The standoff is now impacting songs published by UMG, with millions more tracks to be muted on TikTok by the end of this week. Due to an issue called split copyrights, if a Universal Music Publishing Group-contracted writer has contributed to a song, that track may have to be removed from TikTok. So artists who have collaborated with Taylor Swift, Adele, Justin Bieber, Mariah Carey, Ice Spice, Elton John, Harry Styles and SZA may see their songs disappear from TikTok too.

Continue reading.

Google is reportedly paying publishers to use its AI to write news stories

What could go wrong?

Google has quietly struck deals with publishers to use new generative AI tools to publish stories. The deals, reportedly worth tens of thousands of dollars a year, are apparently part of the Google News Initiative (GNI), a six-year-old program that funds media literacy projects, fact-checking tools and other resources for newsrooms. Adweek says publishers can use the beta tools to create aggregated content more efficiently, indexing recently published reports generated by other organizations, like government agencies and neighboring news outlets, then summarizing and publishing them as a new article.

Publishers in the program are apparently not required to disclose their use of AI nor are the aggregated websites informed that their content is used to create AI-written stories on other sites. Publications like CNET and Sports Illustrated have been widely criticized for attempting to pass off AI-authored articles as written by human staffers.

Continue reading.

Amazon is being sued by the writer of the original 1989 Patrick Swayze version of the film Road House over alleged copyright infringement in the movie's remake, The Los Angeles Times has reported. Screenwriter R. Lance Hill accuses Amazon and MGM Studios of using AI to clone actors' voices in the new production in order to finish it before the copyright expired. 

Hill said he filed a petition with the US Copyright Office in November 2021 to reclaim the rights to his original screenplay, which forms the basis of the new film. At that point, the rights were owned by Amazon Studios, as part of its acquisition of MGM, but were set to expire in November 2023. Hill alleges that once that happened, the rights would revert back to him. 

According to the lawsuit, Amazon Studios rushed ahead with the project anyway in order to finish it before the copyright deadline. Since it was stymied by the actor's strike, Hill alleges Amazon used AI to “replicate the voices” of the actors who worked in the 2024 remake. Such use violated the terms of the deal struck between the union and major studios including Amazon. 

The claim is complicated by the fact that Hill signed a "work-made-for-hire" deal with the original producer, United Artists. That effectively means that the studio hiring the writer would be both the owner and copyright holder of the work. Hill, however, dismissed that as "boilerplate" typically used in contracts. 

The lawsuit seeks to block the release of the film, set to bow at SXSW on March 8th before (controversially) heading direct to streaming on Prime Video on March 21. 

Amazon denies the claims, with a spokesperson telling The Verge that "the studio expressly instructed the filmmakers to NOT use AI in this movie." It added that if AI was utilized, it was only done in early versions of the films. Later on, filmmakers were told to remove any "AI or non-SAG AFTRA actors" for the final version. It added that other allegations are "categorically false" and that it believes its copyright on the original Road House has yet to expire.