Rockstar Games co-founder and former creative director Dan Houser has a new company. Absurd Ventures says it will build stories, characters and worlds across different mediums — including but not limited to video games. The 49-year-old left Rockstar Games in 2020.

“Storytelling. Philanthropy. Ultraviolence.” That’s the tagline for Absurd Ventures, which launches with the two-minute video below that shows more than it tells about the company’s creative, abstract and edgy vibe. However, a press release does provide a more tangible description, describing Absurd as “building narrative worlds, creating characters, and writing stories for a diverse variety of genres, without regard to medium, to be produced for live-action and animation; video games and other interactive content; books, graphic novels, and scripted podcasts.”

It would be a vast understatement to say Houser was a central figure during his 22 years at Rockstar, one of gaming’s all-time great success stories. He co-founded the legendary studio in 1998 with his brother Sam Houser, Jamie King, Terry Donovan and Gary Foreman. As Rockstar grew, he remained an integral part of the company’s creative works, including producing five Grand Theft Auto games and serving as a writer for every GTA installment to date (including Grand Theft Auto V) and both Red Dead Redemption titles. In addition, he did voice work in Grand Theft Auto III and its two standalone expansion games.

Instagram's broadcast channels, a Telegram-style one-way messaging feature, will soon be available more broadly. Meta CEO Mark Zuckerberg wrote on his own channel that the company is rolling out the feature globally today. Until now, it had been limited to select creators.

Broadcast channels allow users to send messages to their followers, who can react to them and vote in polls, but aren't able to respond directly. Zuckerberg has been using his channel to share announcements and updates on Meta's products.

Along with text updates, creators can post images, videos and audio clips. They can also invite others to join their channel as a collaborator. Zuckerberg previously had a public chat with Adam Mosseri, the head of Instagram, on his channel.

Meta brought channels to WhatsApp for the first time last week. A few organizations have access for now, but WhatsApp will offer the feature more broadly in the coming months. Meta plans to bring channels to Facebook and Messenger as well.

Meanwhile, Meta is developing a text-based "decentralized social network" to rival Twitter. Reports suggest that while this will be a standalone service that will connect to the networking protocol that powers Mastodon, you'll be able to log in with your Instagram account to populate your profile.

The following article contains spoilers for “The Broken Circle.”

Strange New Worlds’ first season may have stumbled out of the gate, but it outdid itself with every subsequentepisode. On the strength of the back half of its episodes alone, you could easily call it the best live-action Trek of the streaming era. This achievement was staggering, especially since it was saddled with the nightmare brief of serving as a spin-off to Discovery, a prequel to Star Trek and a paean to fans less than enamored with its serialized stablemates. It quickly found a tone that would serve those many masters, offering episodic storytelling with soap opera characterization that quickly teased out Star Trek’s oft-denied goofy side. It quickly found the confidence to be silly, and dramatic, and even made time to show the crew hanging out with each other, and above all else, it was accessible to mainstream audiences.

That confidence is proudly on show here in “The Broken Circle,” the season two opener credited to co-showrunners Henry Alonso Myers and Akiva Goldsman. Watching this, you get the sense that every person in the production team is pulling in the same direction, with fantastic results. It helps that Myers and Goldsman again write their crew making smart choices pretty much all of the time, sparing us any sludgy plot blocking. In fact, the quickness of its narrative and the sheer brute-force of its charisma helps cover a multitude of sins, turning what is otherwise a fairly light romp into something that will, hopefully, set the tone for the rest of the season.

We open with the Enterprise in spacedock, undergoing a (weirdly testy) inspection while Pike tries to find someone who can help save Number One from her upcoming court martial. He leaves an unusually-flustered Spock in charge of the Enterprise, who isn’t feeling up to the task. That’s because he can’t get his emotions back under control after unleashing his inner rage monster back in “All Those Who Wander,” and seeks help from Dr. M’Benga. He hands him a Lute and tells him to work on his emotions like a human, and when Chapel walks in, the good Doctor can’t help but notice the tension. On the bridge, meanwhile, Uhura receives a coded message from La’an, who has uncovered a plot against the Federation on the edge of Klingon space.

Sadly, April turns down Spock’s plea to investigate, and so enlists the bridge crew to steal the Enterprise. And yes, while this is comedically punctured soon after, I’ll admit to sighing myself inside out as I expected to sit through the second Search for Spock homage in three months. Mercifully, the heist is disrupted by Pelia, the immortal head of the inspection team – Carol Kane playing a stock Carol Kane-type character. Pelia, as a friend of Spock’s mom Amanda, decides to aid in the deception to get the crew underway. They find La’an on a dilithium rich planet which was contested during the Klingon war, and is now under the control of a gang of nefarious types. They’re annoyed that their profit margins have been eroded in peacetime, and would much prefer to restart the Federation - Klingon war to boost profits.

It’s Dr. M’Benga and Chapel who get the meat of the action here, as they are kidnapped and taken to a fake Federation starship being built underground. They correctly surmise that the ship will be used to – another sigh – stage a false flag attack on the Klingons to restart the war. In order to warn the Enterprise, they go heavy on the steroids and punch-fight their way to the ship’s transponder to send them a message. Unfortunately, the ship breaks ground to attack an arriving cruiser, forcing the Enterprise to give chase. But Spock’s reticent to open fire, since the (not so) secret object of his (not so) secret affections is still on board.

Thankfully, M’Benga and Chapel blast their way out into space without any EVA gear and get beamed aboard by the pursuing Enterprise (I know, I know!). Spock is then left to smooth things over with the Klingons, downing a mug or two of blood wine to demonstrate his fortitude to his new friends. April’s happy to give him a slap on the wrist for his heroics, mostly because his focus is on a looming war with the Gorn. And with that, we’re back at the races.

Michael Gibson/Paramount+

What sets “The Broken Circle” apart from many episodes like it from Star Trek’s history is the confidence in its execution and the faith it has in its audience. There are plenty of times that information is conveyed visually rather than with radio-style narration. The silent nod between La’an and M’Benga, when we’re trusted to know what a Starfleet ship looks like by sight alone, and the results of Chapel and M’Benga’s steroid hit. I know this is basic stuff, but it’s right to praise a show that’s able to avoid falling into its own worst habits, and Chris Fisher’s snappy direction deserves plenty of praise.

I could be wrong, but it feels as if the visuals have improved, too, both in scope and execution. The crew seems to have gotten to grips with how best to use its virtual production stage, putting it to effective use in several scenes. We’re still a long way from being able to light big walls of TV screens like the real outdoors, but the effect wasn’t jarring. It was also another episode where savvy use of pre-existing sets was disguised well-enough – at least until you wonder why a criminal crew building a fake starship would bother to equip it with a sickbay, at least.

The one downside to all of this, really, is my usual one, which is that I still can’t shake the feeling some of this stuff is better suited to the other Star franchise. Clandestine meetings with arms dealers where you prove your mettle with how well you hold your drink or a (fake) grenade. A face-punching interrogation scene seconds after being reminded the Federation prohibits torture. A corridor-based punch-fight in which the two people least-qualified to be ass-kickers turn into ass-kicking ninjas for five minutes at a time. Yes, Star Trek of old could be violent, but I don’t think it was ever this cynical or nihilistic, even in the Deep Space Nine days.

For now, let’s welcome Strange New Worlds back for another run, where it’s only got to maintain its reputation as the best live-action Trek. No pressure, then.

Amazon and Disney have partnered to create an interactive experience that combines Alexa’s voice assistant features with Disney’s robust stable of characters. The appropriately-named “Hey Disney!” is now available on any Echo device and represents the very first time Amazon has allowed an assistant other than Alexa on its various speakers and tablets.

Once you purchase an annual subscription to the new voice assistant via the Alexa Skills Store, you’ll have some brand new ways to interact with your Echo gadgets. The wake word changes to “Hey Disney!” which gives you access to something called the “Disney Magical Companion.” This opens up 20 new personalities and voices to interact with across Disney’s entire corporate roster, including Pixar movies and the Star Wars franchise. Additionally, the service is being included as a perk to Amazon Kids+ at no added cost.

Once you call up your favorite character, you’ll get some extra personality when asking for the weather or setting an alarm. Amazon gives examples of Olaf from Frozen reading the weather and a themed soundscape inspired by Return of the Jedi’s moon of Endor. There’s also an emphasis here on storytelling, with Amazon touting “interactive adventures with characters” and “immersive entertainment.” Finally, there’s a new multiplayer Disney trivia game. These modes exist as voice-only experiences for Echo speakers and with visuals for Echo Show tablets.

This is not the first we’ve heard of this unique branding. The voice assistant was first revealed last year, but it was an exclusive release to Disney Resort hotels. Now it’s available to everyone, so long as you pony up for a dedicated subscription or already have a Kids+ plan.

Logitech has rolled out new AI-powered tools for its Streamlabs platform that could make editing podcasts go much, much faster. Starting today, Streamlabs Ultra subscribers will get access to Podcast Editor, which provides easy text-based editing capabilities that they could use to auto-generate transcripts and real-time translations. They could also use the editor to add subtitles to their video podcasts in several languages, as well as create clips in different sizes (and with different template designs) for sharing on platforms, such as Facebook and TikTok. 

The screenshot below shows the tool's interface with its text editor where users can highlight parts of the transcript and automatically create short clips featuring those sections of their podcast. That editor is also where users can generate translations, as well as style and insert subtitles. Users can also remove filler words like "ums" and awkward pauses from their podcasts within just a few seconds using the tool. 

Logitech, which purchased the creator of the Streamlabs OBS livestreaming app back in 2019, says Podcast Editor could trim hours off creators' total edit time. Although Streamlabs Ultra subscribers will get the most out of Podcast Editor, seeing as the paid service allows them to manage 40 hours of content, non-paying users will also get limited access to the tool. They can use Podcast Editor through the free version of Streamlabs and edit one hour of content at no cost every month. 

Engadget

Vincent Borel, Head of PC Gaming and Creators at Logitech G, said: "Podcast Editor now enables Streamlabs to provide the most robust suite of offerings for creators to reach their audiences wherever they are while focusing on the elements of content creation they love the most - streaming and engaging with their audience."

Twitter has yet another major lawsuit to contend with. A group of more than a dozen music publishers has filed a $250 million lawsuit against the company over allegations of “massive” copyright infringement on the platform.

The suit, filed by the National Music Publishers Association, alleges Twitter users have violated artists’ copyrights on thousands of occasions and that the company has done little to stop it. It notes that Twitter is among the only major social platforms that doesn’t have licensing agreements in place.

According to The New York Times, Twitter had been in negotiations for such a deal but those talks eventually broke down. “While numerous Twitter competitors recognize the need for proper licenses and agreements for the use of musical compositions on their platforms, Twitter does not, and instead breeds massive copyright infringement that harms music creators,” the filing states.

The lawsuit also accuses Twitter of ignoring music publishers’ requests to take copyright infringing material off its platform despite weekly notices from publishers.“The reality is that Twitter routinely ignores known repeat infringers and known infringements, refusing to take simple steps that are available to Twitter to stop these specific instances of infringement of which it is aware,” the lawsuit says,

The suit also claims many offending tweets are now shared by verified users, and that Twitter is likely to take action against verified accounts. “Twitter suspended virtually none of the verified accounts identified in the NMPA Notices and which have large follower bases,” the suit says. “Twitter gives them preferential treatment, viewing accounts that are verified and have large follower bases as more valuable and monetizable than accounts that are unverified and have a small number of followers.”

Though the lawsuit says that copyright infringement has been a problem at Twitter for years, it says things have gotten worse since Elon Musk took over the company and that things are in “disarray” internally. Of note, the suit also cites tweets from Musk himself, in which he criticized copyright law, calling the “overzealous DMCA [Digital Millennium Copyright Act]” a “plague on humanity.”

“This statement and others like it exert pressure on Twitter employees, including those in its trust and safety team, on issues relating to copyright and infringement,” the music publishers say.

Twitter didn’t respond to a request for comment.

Developer Motion Twin just announced an animated series based on the game Dead Cells that releases in 2024. The series is being produced by French studio Bobbypills, who also handled the animated trailers for the game and its many DLC releases. The cartoon series seems to follow the game’s narrative, as it’s set on a “cursed island” with a population of “monstrous creatures” and “prophecies depicting a flame-headed hero.”

The series is being co-produced by French anime distribution service the Animation Digital Network. The first season of the Dead Cells cartoon will consist of ten episodes, each around seven to ten minutes long. It will also be exclusive to France, at first, before getting a global release at some point after the initial premiere. There’s a short teaser trailer that doesn’t reveal too much but does give a sense of the animation style.

Developer Motion Twin promises that the forthcoming animated series will not sway its commitment from providing constant updates and new content for the original game. Dead Cells is available on just about every platform in existence, including PC, consoles and mobile devices, having sold an astounding 10 million copies during its lifespan. For the uninitiated, the critically-acclaimed game is a roguelike/metroidvania hybrid that casts you as—surprise—a flame-headed hero trying to escape a cursed island.

Meta is trying to lure more creators to Facebook with new monetization features. The changes come as the company looks to make the short form videos and AI-driven recommendations a more central part of its primary social network.

First, Meta’s “performance bonus program,” which rewards creators for engagement on their Facebook posts, is “expanding significantly.” The program is still invitation-only, but the company is planning to enroll more creators and add additional bonuses to boost their potential earnings. The expansion comes after Meta previously cut payouts from a bonus program that paid creators for engagement with Reels. It's notable, then, that the performance bonus program is geared toward Facebook feed posts, not Reels or Stories. In a blog post, Meta notes that “most successful creators in this program post regularly, typically every day,” with a combination of text and photo posts.

Meta

Meta is also testing two new features that could make it easier to share content between Instagram and Facebook. The company will be experimenting with cross-posting for branded content so creators can more easily share sponsored posts from Instagram in Reels and Stories on Facebook. A separate test will allow “select creators” to make money from Reels that include licensed musical tracks from the company’s audio library.

According to Meta, the updates are meant to help creators “earn steady streams of income on Facebook.” But the changes also seem designed to boost creator engagement with Facebook as the platform struggles to hold the interest of younger users, who are more interested in TikTok and Instagram.

Getting more creators to post more original content to Facebook will also be an important part of Meta’s strategy to shift its main social network away from feeds toward a more TikTok-like “discovery engine” in the coming year. But in order to reorient Facebook around recommendations, Meta will first need a much bigger pool of original creator content to keep users scrolling.

You probably wouldn't think of McDonald's if you're asked to guess which company would release a retro game this year. But yes, the fast food giant did indeed launch a 2D retro game seemingly in the style of Game Boy Color, and it's all in celebration of Grimace's 52nd birthday. The company teamed up with Krool Toys to develop the platformer that you can play on a modern PC or a mobile device. In it, you control Grimace on a skateboard as he searches for his missing friends — and collect enough milkshake for all his guests — before his birthday party begins.

While I fumbled a bit trying to control the purple mascot as he jumped over obstacles and slid across hand rails, I could only blame my own clumsy handling of the game's controls. The game worked smoothly on a computer, and you can even expand the screen if you don't mind getting blurry graphics, which truly do look like they were created for Nintendo's old handheld. The game was most likely created using a drag-and-drop tool for Nintendo handheld games called GB Studio. Indie developers like Krool have been using the program to create retro games, because doing so from scratch is typically very time- and resource-consuming. As a nice nostalgia-inducing bonus, even the website for the game is a throwback to the era marked by colorful and busy Angelfire, Lycos and Geocities web pages.

McDonald's only officially released Grimace's Birthday as a fun little game you can play on PC and mobile, but people were quickly able to find and share a copy you can download. While it's not an official release, it will allow you to play the game on a Game Boy emulator in case have one. 

It seems that Meta has a fully fledged Twitter alternative that ties into Instagram on the way. In the meantime, Instagram still has its own Notes feature, which is getting an upgrade today as it now supports music and translation.

Since December, the feature has enabled users to share short status updates including text and emoji on their profiles. Friends and followers can see these mini missives in the inbox. Adding music to your notes will help you express yourself, Meta says. You'll be able to include a 30-second clip of a song along with a caption. You might think of this as a souped-up version of an AIM away message, where you can post a clip of a song alongside a lyric that vaguely hints at your feelings about a certain someone or takes a passive-aggressive shot at one of your enemies.

Instagram

In addition, you'll be able to translate notes with a tap. This could be handy if one of your friends tends to post their notes in a language you may not know well. 

Meta says that many teens have taken to Notes. More than 100 million teen accounts have posted a note in the last three months. Music and translation are both solid additions to the feature and they'll likely go over well with teens. 

Instagram

Meanwhile, Meta has confirmed it's working on a "standalone decentralized social network" that's focused on text-based updates. According to reports, you'll be able to log in with your Instagram credentials and populate your profile with details from your existing account. The service will hook into ActivityPub, the networking protocol that powers Mastodon, while Meta's said to be trying to convince high-profile users such as Oprah and the Dalai Lama to use it.