Michaela Zee reports via Variety: More than 15 years after his death, stand-up comedian George Carlin has been brought back to life in an artificial intelligence-generated special called "George Carlin: I'm Glad I'm Dead." The hour-long special, which dropped on Tuesday, comes from Dudesy, a comedy AI that hosts a podcast and YouTube show with "Mad TV" alum Will Sasso and podcaster Chad Kultgen.

"I just want to let you know very clearly that what you're about to hear is not George Carlin. It's my impersonation of George Carlin that I developed in the exact same way a human impressionist would," Dudesy said at the beginning of the special. "I listened to all of George Carlin's material and did my best to imitate his voice, cadence and attitude as well as the subject matter I think would have interested him today. So think of it like Andy Kaufman impersonating Elvis or like Will Ferrell impersonating George W. Bush."

In the stand-up special, the AI-generated impression of Carlin, who died in 2008 of heart failure, tackled prevalent topics like mass shootings, the American class system, streaming services, social media and AI itself. "There's one line of work that is most threatened by AI -- one job that is most likely to be completely erased because of artificial intelligence: stand-up comedy," AI-generated Carlin said. "I know what all the stand-up comics across the globe are saying right now: "I'm an artist and my art form is too creative, too nuanced, too subtle to be replicated by a machine. No computer program can tell a fart joke as good as me.'" Kelly Carlin, the late stand-up comedian's daughter, posted a statement in response to the special: "My dad spent a lifetime perfecting his craft from his very human life, brain and imagination. No machine will ever replace his genius. These AI generated products are clever attempts at trying to recreate a mind that will never exist again. Let's let the artist's work speak for itself. Humans are so afraid of the void that we can't let what has fallen into it stay there.

Here's an idea, how about we give some actual living human comedians a listen to? But if you want to listen to the genuine George Carlin, he has 14 specials that you can find anywhere."

Kirkman14 writes: Josh Renaud of breakintochat.com has recovered two early examples of "artificial creativity" software for the Commodore Amiga that generate new music by recombining patterns extracted from existing music. Developed by cartoonist Ya'akov Kirschen and his Israeli software firm LKP Ltd. in 1986-87, "Computer Composer" demo and "Magic Harp" baroque were early attempts at AI-like autonomous music generation.

Kirschen's technology was used to help score a BBC TV documentary in 1988, and was covered by the New York Times and other major newspapers. None of the Amiga software was ever sold, though the technology was ported to PC and published under the name "The Music Creator" in 1989.

Karl Bode, reporting for TechDirt: Back in 2019 we noted how the streaming sector risked driving consumers back to piracy if they didn't heed the lessons of the past. We explored how the rush to raise rates, nickel-and-dime users, implement arbitrary restrictions, and force users toward hunting and pecking their way through a confusing platter of exclusives and availability windows risked driving befuddled users back to piracy. And lo and behold, that's exactly what's happening.

After several decades of kicking and screaming, studio and music execs somewhere around 2010 finally realized they needed to offer users affordable access to easy-to-use online content resources. They finally realized they needed to compete with piracy and focus on consumer satisfaction whether they liked the concept or not. And unsurprisingly, once they learned that lesson piracy began to dramatically decrease. That was until 2021, when piracy rates began to climb slowly upward again in the U.S. and EU. As the Daily Beast notes, users have grown increasingly frustrated at having to hunt and peck through a universe of different, often terrible streaming services just to find a single film or television program.

As every last broadcaster, cable company, broadband provider, and tech company got into streaming they began to lock down "must watch" content behind an ever-shifting number of exclusivity silos, across an ocean of sometimes substandard "me too" services. Initially competition worked, but as the market saturated and the most powerful companies started to silo content, those benefits have been muted. Now users have to hunt and peck between Disney+, Netflix, Starz, Max, Apple+, Acorn, Paramount+, Hulu, Peacock, Amazon Prime, and countless other services in the hopes that a service has the rights to a particular film or program. When you already pay for five different services, you're not keen to sign up to fucking Starz just to watch a single 90s film. And availability is constantly shifting, confusing things further.

Telly, the company giving people free 55-inch 4K TVs as long as they're willing to live with persistent ads on a second screen, is previewing a "Hey Telly" voice assistant that will be based on OpenAI's ChatGPT, at least at first. From a report: Users will interact with it on the TV's second (lower) screen, and the company says it "will come to know and recognize the Telly owner" over time and offer personalized recommendations to users. The company didn't say when the feature will be available. The existing SoundHound-powered voice assistant is limited to more mundane tasks like setting timers, changing picture modes, or answering simple questions. Telly also says other household users can opt to have the chatbot personalized to them, offering the example of a chatbot that knows you're on a vegetarian diet and keeps that in mind when you ask for restaurant recommendations.

Amazon introduced a new feature that mimics Apple's AirPlay while working across different platforms, setting the stage for iPhone and Android users to wirelessly stream video to its TV hardware. From a report: The feature, called Matter Casting, is part of a push by Amazon to create interoperable services -- an alternative to the propriety technology developed by Apple and Google. It will make it easier for iOS and Android phones to send video to Amazon devices, such as its Fire TV boxes and sticks, as well as the Echo Show 15 smart display. [...] The feature will work with a range of other video services, including Plex, Pluto TV, Sling TV, Starz and ZDF, Amazon said.

home-electro.com shares a report from Engadget: On Sunday night Samsung held its annual First Look event at CES 2024, where the company teased the world's first transparent MicroLED display. While there's still no word on how much it costs or when this tech will find its way into retail devices, Samsung showcased its transparent MicroLED display side-by-side next to transparent OLED and transparent LCD models to really highlight the differences between the tech. Compared to the others, not only was the MicroLED panel significantly brighter, it also featured a completely frameless design and a more transparent glass panel that made it easier to see objects behind it. LG also unveiled a similar piece of tech: the company's "first wireless transparent OLED TV." It's called the OLED T and supports 4K resolution and LG's wireless transmission tech for audio and video.

You can watch a demo of Samsung's transparent microLED screen on YouTube.

At CES, LG on Monday unveiled the OLED T, or as the firm describes it, "the first wireless transparent OLED TV," with 4K resolution and LG's wireless transmission tech for audio and video. Engadget: The unit also features a contrast screen that rolls down into a box at its base that you can raise or lower with the press of a bottom. The OLED T is powered by LG's new Alpha 11 AI processor with four times the performance of the previous-gen chip. The extra power offers 70 percent greater graphics performance and 30 percent faster processing speeds, according to the company.

The OLED T model works with the company's Zero Connect Box that debuted on last year's M3 OLED that sends video and audio wirelessly to the TV. You connect all of your streaming devices and game consoles to that box rather than the television. The OLED T's base houses down-firing speakers, which sound surprisingly good, as well as some other components. There are backlights as well, but you can turn those on for a fully-transparent look. LG says the TV will come in standalone, against-the-wall and wall-mounted options. No word on when the TV will go on sale, or how much it would cost.

"The famed and mysterious disappearance of D.B. Cooper has puzzled investigators for over half a century," writes a Seattle TV station. Now new evidence is coming to light in the supposed "skyjacking," after a microscopic piece of metal found on D. B. Cooper's tie could help reveal his true identity. "Considering the totality of all that has been uncovered in the last year with respect to DB Cooper's tie, I can say with a very high degree of certainty that DB Cooper worked for Crucible Steel," said independent investigator Eric Ulis.
"I would not be surprised at all if 2024 was the year we figure out who this guy was," Ulis told another local Seattle news station: This particle is part stainless steel, part titanium... 18 months ago, Ulis used U.S. patents to trace three of these fragments from the same very tie to a specific plant in Pennsylvania, Crucible Steel. "Headquartered in the suburbs of Pittsburgh, a significant subcontractor all throughout the 1960s," said Ulis. "It supplied the lion's share of titanium and stainless steel for Boeing's aircraft...."

Ulis claims evidence points to Cooper having in-depth knowledge of the 727 he hijacked, and of the Seattle area. Workers at Crucible Steel were known to travel and visit their contractor, Boeing. "This is also the time, 1971, when Boeing had this significant downturn, the big depression, with 'The last person leaving Seattle, please turn out the lights' [billboard sign]," said Ulis. "It's reasonable to deduce that D. B. Cooper may well have been part of that downturn."

Ulis admits his findings are not yet concrete. He's not crossing any suspects off the list. However, he believes from what he's seen, all roads lead to titanium research engineer Vince Peterson from Pittsburgh.
It all reminds me of that episode of Prison Break where they suspect one of the prisoners is secretly D.B. Cooper...

Tesla and Samsung are joining forces to allow users of Samsung's SmartThings platform to connect to Tesla products so they can keep track of energy production and usage. The Verge reports: When connected to the Powerwall, SmartThings Energy can sync with the "Storm Watch" feature so that you're notified of heavy weather on a Samsung phone or TV, for example. In addition to the Powerwall, SmartThings Energy will be able to connect to other Tesla products, including its electric vehicles, Solar Inverter, and Wall Connector charging solutions. The collaboration is possible thanks to Tesla's API, which Samsung claims SmartThings Energy is the first to take advantage of.

According to MoffettNathanson, the U.S. pay-TV industry had its worst-ever third quarter after losing about 900,000 subscribers. "That poor result, the research firm added, left the total pay-TV industry shrinking at a record pace of -7.3%, widened from a year-ago decline of -5.9%," reports Light Reading. "It also left pay-TV penetration of occupied households (including vMVPDs) at just 54.8% -- a level last seen in 1989, five years before the debut of DirecTV." From the report: Drilling down on Q3 results, traditional pay-TV providers (cable, telco and satellite) shed 1.97 million subscribers, widened from a loss of 1.94 million in the year-ago quarter. Within that category, US cable lost 1.10 million video subs in Q3, versus a loss of -1.09 million in the year-ago period. Satellite operators (Dish Network and DirecTV) lost 667,000 subs in Q3, versus -567,000 in the year-ago quarter. Telco TV providers lost 198,000 video subs in the period, an improvement when compared to a year-ago loss of -250,000 subs.

vMVPDs, meanwhile, added 1.08 million in Q3, down from a year-ago gain of about 1.34 million. Despite those gains, vMVPDs recaptured only 21.7% of traditional pay-TV's subscriber losses in the period, according to MoffettNathanson. Meanwhile, YouTube TV continues to dominate the vMVPD category. MoffettNathanson estimates that YouTube TV added about 350,000 subs in Q3, extending its total to 7 million -- representing 40% of the vMVPD sector's 18 million subscriber total. "Based on our Q3 estimate, YouTube TV has now surpassed Dish Network [6.72 million satellite TV subs at the end of Q3] to become the country's fourth largest MVPD of any kind," Moffett noted. "At the current trajectory, YouTube TV should pass DirecTV for third place in less than a year."

An anonymous reader shares a report: Both of Microsoft's current Xbox consoles now have kitchen appliance counterparts. The Xbox Series S toaster recently debuted, following up the Xbox Series X refrigerator. It's available for purchase from Walmart for $39.99. In place of its ability to connect to a TV and play games, it can toast bread or bagels, imprinting the Xbox logo onto its side with its internal heat coils. The Series S toaster has a slot long enough to fit two slices of bread side by side, which I suppose can be considered multiplayer support if the bread is for two people. As with most toasters, this one has different toast browning levels, a removeable crumb tray, a bread ejection function, and automatic shutoff.

smooth wombat writes: The advent of streaming services heralded a new era of movie watching. No longer tied to an inconvenient time at a theater, movies could now be watched at your convenience any time of the day or night in your own home. However, with that convenience comes a sinister side: those same movies disappearing from streaming services. Once the movie is removed from the streaming service you can't watch it again. As a result, more people, particularly younger people, are buying DVDs, and even records, to preserve their ability to watch and listen to what they want when they want. Before his release of Oppenheimer, Christopher Nolan encouraged fans to embrace "a version you can buy and own at home and put on a shelf so no evil streaming service can come steal it from you". From the BBC article:

Other directors have chimed in to sing the praises of physical media. James Cameron told Variety:"The streamers are denying us any access whatsoever to certain films. And I think people are responding with their natural reaction, which is 'I'm going to buy it, and I'm going to watch it any time I want.'" Guillermo del Toro posted on X that "If you own a great 4K HD, Blu-ray, DVD etc etc of a film or films you love... you are the custodian of those films for generations to come." His tweet prompted people to reply, sharing evidence of their vast DVD collections. [...]

LG touts AI for its 2024 OLED TVs, but don't expect AI assistants onscreen. The Alpha 11 processor in LG's new G4 and M4 series aims to sharpen clarity, color and image quality. The G4 features LG's Micro Lens Array technology for enhanced brightness. The M4 adopts 2023's wireless connectivity to eliminate unsightly cables. The Verge adds: So the AI supposedly now understands creative intent, according to LG, and can adjust your TV's image settings accordingly. Picture purists can always ignore and disable these AI modes, but many people inevitably leave them on -- so if the upgrades are noticeable, they'll be a difference maker for those customers.

Roku, the maker of TV streaming boxes and software, is debuting its first high-end televisions in a bid to continue sales momentum for the company's devices. From a report: In the spring, Roku will roll out 55-inch, 65-inch and 75-inch Pro Series TVs that will cost consumers as much as $1,500. The new televisions put Roku in competition with Samsung and LG, which offer several models in that price range. It's a step up from the company's current TVs -- the Select and Plus -- which top out at $999. [...] The new TVs include a thinner design with a flat back for mounting on walls, improved picture quality and better audio for cinematic sound, the San Jose, California-based company said in a statement.

An anonymous reader quotes a report from Ars Technica: Modern fighting games have come quite a long way from their origins in providing accessibility options. Street Fighter 6 has audio cues that can convey distance, height, health, and other crucial data to visually impaired players. King of Fighters 15 allows for setting the contrast levels between player characters and background. Competitors like BrolyLegs and numerous hardware hackers have taken the seemingly inhospitable genre even further. Tekken 8, due later this month, seems to aim even higher, offering a number of color vision options in its settings. This includes an unofficially monikered "colorblind mode," with black-and-white and detail-diminished backgrounds and characters' flattened shapes filled in with either horizontal or vertical striped lines. But what started out as excitement in the fighting game and accessibility communities about this offering has shifted into warnings about the potential for migraines, vertigo, or even seizures.

You can see the mode in action in the Windows demo or in a YouTube video shared by Gatterall -- which, of course, you should not view if you believe yourself susceptible to issues with strobing images. Gatterall's enthusiasm for Tekken 8's take on colorblind accessibility ("Literally no game has done this") drew comment from Katsuhiro Harada, head of the Tekken games for developer and publisher Bandai Namco, on X (formerly Twitter). Harada stated that he had developed and tested "an accessibility version" of Tekken 7, which was never shipped or sold. Harada states that those "studies" made it into Tekken 8.

Not everybody in game accessibility circles was excited to see the new offerings, especially when it was shared directly with them by excited followers. Morgan Baker, game-accessibility lead at Electronic Arts, asked followers to "Please stop tagging me in the Tekken 8 'colorblind' stripe filters." The scenes had "already induced an aura migraine," Baker wrote, and she could not "afford to get another one right now." Accessibility consultant Ian Hamilton reposted a number of people citing migraines, nausea, or seizure concerns while also decrying the general nature of colorblind "filters" as an engineering-based approach to a broader design challenge. He added in the thread that shipping a game that contained a potentially seizure-inducing mode could result in people inadvertently discovering their susceptibility, similar to an infamous 1997 episode of the Pokemon TV series. Baker and Hamilton also noted problems with such videos automatically playing on sites like X/Twitter. "Patterns of lines moving on a screen creates a contiguous area of high-frequency flashing, like an invisible strobe," explained James Berg, accessibility project manager at Xbox Game Studios. "Human meat-motors aren't big fans of that." People typically start to notice "flicker fusion frequency" at around 40 frames per second, notes Ars.

Tekken's Harada responded by saying a "very few" number of people misunderstood what his team was trying to do with this mode. There are multiple options, not just one colorblind mode, Harada wrote, along with brightness adjustments for effects and other elements.

"These color vision options are a rare part of the fighting game genre, but they are still being researched and we intend to expand on them in the future," Harada wrote. Developers "have been working with several research institutes and communities to develop this option," even before the unsold "accessibility version of Tekken 7," added Harada.

Vizio has agreed to $3 million settlement over allegations it misled consumers on TV refresh rates. The TV maker denies wrongdoing but will cease advertising on "effective" refresh rates. Eligible buyers have until March 2024 to file claims and submit proof of purchase. Settlement includes enhanced one-year warranties. The Verge adds: TV makers often use marketing terms like "effective refresh rate" to refer to motion smoothing features, often called the "soap opera effect," that are intended to reduce motion blur on modern TVs. Motion smoothing is already controversial enough on its own, but companies like Vizio can be frustratingly casual with refresh rate terminology in their marketing.

Forbes writes: "I am not sure there could have been a more ignominious end to the DCEU." Aquaman 2 opened with $27.7 million domestically, well under half the $67.8 million opening for the original Aquaman. But it's the overall box office totals that are especially dire, as the film has made just over $138.5 million worldwide. That is about 12% of Aquaman 1's final total of $1.1 billion in 2018, where it is the DCEU's highest grossing entry.

The counter to this is that it perhaps is too soon to run these numbers, as it just came out right? Well, a few extra factors to consider. It is already out in a ton of major markets, so there are relatively few potential surges that can still happen outside places like Korea and New Zealand, which can only add so much. Most importantly Aquaman 2 has already launched in China, where it made $30 million in its opening, again, far below the original's opening at $93 million there, doing even worse there than domestically, in context. Aquaman 1 went on to make $292 million in China, a figure Aquaman 2 will not come within a mile of. Next, what DC, and many blockbusters, have been doing lately are these incredibly short theatrical windows, so the clock is ticking quickly...

Of course this is not exclusive to DC, as we have an extremely direct comparison over at Marvel with The Marvels, which at a $205.6 million global gross, the final figure, that is 18% of Captain Marvel's $1.13 billion total. Aquaman 2 has the advantage of being a true sequel, not a team-up piece from other TV shows you theoretically needed to watch beforehand, but it also has the disadvantage of being the last dying gasp of the DCEU coming after a string of other high profile box office failures from Shazam 2 to Blue Beetle.

There was really no way it was going to avoid its fate, even if it did review well (which it didn't, as at 35% on Rotten Tomatoes, it's one of the DCEU's lowest rated films).

"Predating even Toy Story, ReBoot was the first 3D animated television show," writes longtime Slashdot reader sandbagger, sharing a new report from Global News. "The master tapes have been located in storage but the hardware needed to play the 1990s-era media has yet to be located." From the report: Produced in Vancouver by Mainframe Entertainment, it aired on YTV between 1994 and 2001, and decades later still has a committed fan base. Among those super fans are Jacob Weldon and Raquel Lin, a B.C. duo now crafting a documentary about the creation of the show and its impact in the film and TV world. Weldon said he wants to see ReBoot recognized for its place in the evolution of computer animation -- recognition he said it rarely gets.

When ReBoot was finally cancelled -- cut short in its fourth and final season -- its protagonists were left in peril and the show ended on a cliffhanger. It's another factor that Lin and Weldon say has helped immortalize the show and has helped fans hoping for a revival that might finally explain the characters' fate. Earlier this month, the documentary also got a potential major boost. Mainframe allowed Lin and Weldon to come to the studio to look for the show's original master tapes, recordings some believed might have been permanently lost. They struck gold. "They had boxes upon boxes upon boxes, hundreds of tapes," Lin said. "It's original resolution, original frame rate, uncompressed. If we could get a deck to play these, they would look beautiful," Weldon said.

Finding that deck, however, is the pair's next major challenge. The recordings are on a rare digital tape format called D1, a technology that Weldon said was cutting edge and rare when Mainframe was using it. It's even harder to find today, and even Mainframe doesn't have the equipment to play the tapes back. Weldon and Lin have since put out a call on social media for a working Bosch BTS D1 deck that would allow them to play the tapes, and incorporate them into their documentary. "I can't tell you how many people have called us, DM'd us, emailed us -- people from all over the world," Lin said. While the pair still haven't secured the deck, they're aiming to release their documentary by next summer. They're hoping it will help renew interest in the show, introduce it to new generations and perhaps see it get new life on a streaming platform.

After losing more than $5 billion in the past year, the world's largest traditional entertainment companies -- Disney, Warner Bros Discovery, Comcast and Paramount -- are contemplating cuts and possible mergers to ultimately help better compete with Netflix. The Financial Times reports (via Ars Technica): Shari Redstone, Paramount's billionaire controlling shareholder, has effectively put the company on the block in recent weeks. She has held talks about selling the Hollywood studio to Skydance, the production company behind Top Gun: Maverick, people familiar with the matter say. Paramount chief executive Bob Bakish also discussed a possible combination over lunch with Warner CEO David Zaslav in mid-December. In both cases the discussions were said to be at an early stage and people familiar with the talks cautioned that a deal might not materialize.

Beyond their streaming losses, the traditional media groups are facing a weak advertising market, declining television revenues and higher production costs following the Hollywood strikes. Rich Greenfield, an analyst at LightShed Partners, said Paramount's deal discussions were a reflection of the "complete and utter panic" in the industry. "TV advertising is falling far short, cord-cutting is continuing to accelerate, sports costs are going up and the movie business is not performing," he said. "Everything is going wrong that can go wrong. The only thing [the companies] know how to do to survive is try to merge and cut costs." But as the traditional media owners struggle, Netflix, the tech group that pioneered the streaming model over a decade ago, has emerged as the winner of the battle to reshape video distribution. "For much of the past four years, the entertainment industry spent money like drunken sailors to fight the first salvos of the streaming wars," analyst Michael Nathanson wrote in November. "Now, we are finally starting to feel the hangover and the weight of the unpaid bar bill." For companies that have been trying to compete with Netflix, Nathanson added, "the shakeout has begun."

After a bumpy 2022, Netflix has set itself apart from rivals -- most notably by being profitable. Earnings for its most recent quarter soared past Wall Street's expectations as it added 9 million new subscribers -- the strongest rise since early 2020, when Covid-19 lockdowns led to a jump. "Netflix has pulled away," says John Martin, co-founder of Pugilist Capital and former chief executive of Turner Broadcasting. For its rivals, he said, the question is "how do you create a viable streaming service with a viable business model? Because they're not working." The leading streaming services aggressively raised prices in 2023. Now, analysts, investors and executives predict that consolidation could be ahead next year as some of the smaller services combine or bow out of the streaming wars.

A recent video poked fun at the newly announced Legend of Zelda movie by referencing the checkered history of video game adaptations. However, 2023 brought critical and commercial success for games-based projects like The Last of Us and The Super Mario Bros Movie, while several comic book films such as The Flash and Ant-Man 3 underperformed.

This shift comes as Disney CEO Bob Iger admitted Marvel may have oversaturated the market. While caped crusaders aren't finished yet, their golden era may be ending. Meanwhile, Mario earned over $1 billion, topping all superhero films this year. Video game movies have struggled in the past, but their time may have finally come. Wired adds: Mario's success will lead to a "deluge" of video game adaptations, argues Joost van Druenen, a New York University business professor and author of One Up: Creativity, Competition, and the Global Business of Video Games. Van Dreunen reckons that superheroes are "going the way of the cowboy," referring to the shifts in Hollywood's dominant genres (think: the rise of zombies a few years back, all the Home Alone-esque family movies in the 1990s). Even a show like The Boys, he argues, with its anti-superheroes, looks like a kind of turning point, akin to the revisionist Westerns, exemplified by Sam Peckinpah's The Wild Bunch, that began to dominate the genre at the end of the '60s and into the '70s.

Provided audiences are as tired of superheroes as pundits think, video game protagonists could profitably fill the gap. They come from well-known franchises and have large, engaged fan bases -- two things studios appreciate. Cast your eyes down the development list: God of War, Ghost of Tsushima, Assassin's Creed, continued expansion on The Witcher, among others. Nintendo, which has traditionally resisted film spinoffs, is planning a movie a year; Arcane, widely considered the first title (before The Last of Us) to break the curse of such adaptations, is finally getting a second season. Amazon's forthcoming Fallout series is being helmed by the same team as Westworld. [...] Back to superheroes, artist fatigue is one under-explored factor. Inspiration is lacking. Some are undoubtedly tired of the whole enterprise, but many are just tired of poor films: And clearly, these two factors entwine.