Fish swim, birds fly and streaming services increase their prices. That’s (mostly) the way of things. After maintaining the same pricing for Premium for a long time, Spotify looks set to increase it twice within a year in some countries.
According to Bloomberg, Spotify Premium will be around $1 more for an individual plan and about $2 costlier for family and duo plans by the end of April in a few markets, including the UK, Australia and Pakistan. The report suggests the US is in line for a similar increase later this year.
The higher fees are expected to offset the costs of audiobook offerings. Since October, Premium users in select markets have been able to listen to 15 hours of audiobooks per month at no extra cost. The company is said to have seen strong levels of audiobook consumption so far.
If users go over the 15-hour limit, they can pay for a 10-hour top up. It’s there that Spotify makes more money from its Premium audiobook library. The company also sells audiobooks on its web store.
Spotify has been chasing profitability since it went public in 2018 and to help it get there, it’s said to be preparing several more subscription tiers. One of those (a more expensive option) will reportedly offer high-fidelity audio, a feature the company has long been promising.
It may also introduce a basic tier that includes ad-free music and podcasts, with audiobooks being cut out. This plan is expected to cost $11 per month, the same as Spotify currently charges for Premium. As such, that $10 audiobook-only plan Spotify introduced in the US last month is starting to make more sense.
This article originally appeared on Engadget at https://www.engadget.com/some-spotify-plans-are-reportedly-getting-more-expensive-soon-143013215.html?src=rss
Fish swim, birds fly and streaming services increase their prices. That’s (mostly) the way of things. After maintaining the same pricing for Premium for a long time, Spotify looks set to increase it twice within a year in some countries.
According to Bloomberg, Spotify Premium will be around $1 more for an individual plan and about $2 costlier for family and duo plans by the end of April in a few markets, including the UK, Australia and Pakistan. The report suggests the US is in line for a similar increase later this year.
The higher fees are expected to offset the costs of audiobook offerings. Since October, Premium users in select markets have been able to listen to 15 hours of audiobooks per month at no extra cost. The company is said to have seen strong levels of audiobook consumption so far.
If users go over the 15-hour limit, they can pay for a 10-hour top up. It’s there that Spotify makes more money from its Premium audiobook library. The company also sells audiobooks on its web store.
Spotify has been chasing profitability since it went public in 2018 and to help it get there, it’s said to be preparing several more subscription tiers. One of those (a more expensive option) will reportedly offer high-fidelity audio, a feature the company has long been promising.
It may also introduce a basic tier that includes ad-free music and podcasts, with audiobooks being cut out. This plan is expected to cost $11 per month, the same as Spotify currently charges for Premium. As such, that $10 audiobook-only plan Spotify introduced in the US last month is starting to make more sense.
This article originally appeared on Engadget at https://www.engadget.com/some-spotify-plans-are-reportedly-getting-more-expensive-soon-143013215.html?src=rss
There will be no follow-up to that AI-generated George Carlin comedy special released by the podcast Dudesy. In January, Carlin's estate filed a lawsuit against the podcast and its creators Will Sasso and Chad Kultgen, accusing them of violating the performer's right to publicity and infringing on a copyright. Now, the two sides have reached a settlement agreement, which includes the permanent removal of the comedy special from Dudesy's archive. Sasso and Kultgen have also agreed never to repost it on any platform and never to use Carlin's image, voice or likeness without approval from the estate again, according to The New York Times.
The AI algorithm that Dudesy used for the special was trained on thousands of hours of Carlin's routines that spanned decades of his career. It generated enough material for an hour-long special, but it did a pretty poor impression of the late comedian with basic punchlines and very little of what characterized Carlin's humor. In a statement, Carlin's daughter Kelly called it a "poorly-executed facsimile cobbled together by unscrupulous individuals."
Josh Schiller, who represented the Carlin estate in court, told The Times that "[t]he world has begun to appreciate the power and potential dangers inherent in AI tools, which can mimic voices, generate fake photographs and alter video." He added that it's "not a problem that will go away by itself" and that it "must be confronted with swift, forceful action in the courts." The companies making AI software "must also bear some measure of accountability," the lawyer said.
This lawsuit is just one of the many filed by creatives against AI companies and the people that use the technology by training algorithms on someone's work. Several non-fiction authors and novelists that include George R.R. Martin, John Grisham and Jodi Picoult sued OpenAI for using their work to train its large language models. The New York Times and a handful of other news organizations also sued the company for using their articles for training and for allegedly reproducing their content word-for-word without attribution.
This article originally appeared on Engadget at https://www.engadget.com/george-carlins-estate-settles-lawsuit-against-podcasters-ai-comedy-special-075224304.html?src=rss
There will be no follow-up to that AI-generated George Carlin comedy special released by the podcast Dudesy. In January, Carlin's estate filed a lawsuit against the podcast and its creators Will Sasso and Chad Kultgen, accusing them of violating the performer's right to publicity and infringing on a copyright. Now, the two sides have reached a settlement agreement, which includes the permanent removal of the comedy special from Dudesy's archive. Sasso and Kultgen have also agreed never to repost it on any platform and never to use Carlin's image, voice or likeness without approval from the estate again, according to The New York Times.
The AI algorithm that Dudesy used for the special was trained on thousands of hours of Carlin's routines that spanned decades of his career. It generated enough material for an hour-long special, but it did a pretty poor impression of the late comedian with basic punchlines and very little of what characterized Carlin's humor. In a statement, Carlin's daughter Kelly called it a "poorly-executed facsimile cobbled together by unscrupulous individuals."
Josh Schiller, who represented the Carlin estate in court, told The Times that "[t]he world has begun to appreciate the power and potential dangers inherent in AI tools, which can mimic voices, generate fake photographs and alter video." He added that it's "not a problem that will go away by itself" and that it "must be confronted with swift, forceful action in the courts." The companies making AI software "must also bear some measure of accountability," the lawyer said.
This lawsuit is just one of the many filed by creatives against AI companies and the people that use the technology by training algorithms on someone's work. Several non-fiction authors and novelists that include George R.R. Martin, John Grisham and Jodi Picoult sued OpenAI for using their work to train its large language models. The New York Times and a handful of other news organizations also sued the company for using their articles for training and for allegedly reproducing their content word-for-word without attribution.
This article originally appeared on Engadget at https://www.engadget.com/george-carlins-estate-settles-lawsuit-against-podcasters-ai-comedy-special-075224304.html?src=rss
Open Roads is an easy game to get lost in. It tells a twisting tale about generational trauma — the tension, lies and love between mother and daughter — with all the comfort and warmth of an early 2000s network drama like Gilmore Girls or Charmed. As a former suburban teen myself, this game left me feeling equally exposed and understood.
Open Roads is set in 2003, and through environment and character design alone, it captures an authentic slice of life in this post-9/11, pre-Razr era. In the early aughts, I spent my teen years bouncing between Dad’s apartment on the outskirts of the city and Mom’s house in a dusty development site surrounded by grocery stores and Blockbuster Videos, and I had big dreams of escaping both. All this is to say, I relate to Open Roads' main character, Tess, who’s finishing up high school and planning a future in the hot new market of webpage design. Her parents are newly divorced and she’s been living with her mom, Opal, and grandma, Helen, outside of Detroit. Helen recently passed and her home is being sold against Opal’s wishes, so she and Tess are begrudgingly clearing it out and looking for a new place to stay.
Open Roads Team
The details of Tess’ family history are slowly exposed as she explores Grandma Helen’s home, told in old newspapers, photographs, books, postcards, heirlooms, phone calls and pottery-making materials. Tess and Opal eventually discover a suitcase hidden behind a false wall in the house, and it spurs them to embark on a road trip to long-lost locations from Opal’s past. Helen was a popular advice columnist and writer similar to Dear Abby, and her leftover letters, scattered around each environment, steadily peel back the layers of secrets that have enshrouded her, her daughter's and granddaughter's lives.
Every character in Open Roads has something to hide. I actually clocked the big twist about halfway through the game, but there was enough drama, doubt and emotional heft to keep me invested in the narrative regardless. Do yourself a favor and don’t look up any story spoilers — just enjoy the Open Roads ride.
Open Roads Team
This is exceedingly easy to do. Open Roads has expertly written dialogue, and its characters are infused with rich histories and complex motivations. The back and forth between Tess and Opal feels genuine for a teen daughter and her mother who’ve been trapped together in a car for hours on end: They quickly spark to anger and reconciliation, and just as easily act supremely silly around each other. A foundation of tenderness underlies their interactions. The voice acting, provided by mainstream television actors Keri Russell and Kaitlyn Dever, is superb, adding to the game’s immersive pull.
Open Roads uses a mix of 3D and 2D art — the backgrounds and interactable objects are 3D, while Tess and Opal are animated in hand-drawn 2D, moving in a floaty manner that reminds me of the early Disney classics. The styles work well together, for the most part. I found the visuals jarring in one section, when Tess and Opal were having a conversation in direct sunlight and the brightness of the scene made their 2D avatars look unfinished, unblended with the setting. Generally though, Open Roads is filled with engaging environments and beautiful details, with plenty of items to investigate and small puzzles to solve. The story unfurls naturally with every action prompt, and dialogue choices alter Tess and Opal’s trajectory throughout the game.
Open Roads Team
The sound design in Open Roads is particularly spectacular. Each object that Tess interacts with has a sound specific to its texture and weight. When Tess sets a cookie tin down on a kitchen countertop, it sounds like hollow metal scraping against wood; when she picks up a discarded cigar, the audio cues are soft and papery; Tess’ footsteps sound distinct on bare floorboards, carpet and rugs, with changes in density, bass and sharpness for each new material. Picking up Tess’ flip phone to text her BFF, I can hear the groaning of thick plastic hinges and the padded creaking as she rapidly presses down on the number pad. These sounds are crucial aspects of the game, louder than the bed of acoustic guitar or light synth that make up the soundtrack, and I’m entirely here for it. Open Roads is proof that ASMR exploration games should be a thing.
The features that will stick with me after finishing Open Roads are its sound design and its authenticity. There aren’t many games focused on the everyday lives and conversations of women, let alone mothers and daughters, and Open Roads is a testament to the power of these stories. The game oozes warmth and camaraderie, and its writing displays an abundance of respect toward the characters that drive its narrative. Every person with a voice in Open Roads is a woman, and Tess, Opal, Grandma Helen and Aunt August are each dynamic, sympathetic and flawed in unique ways. Considering the developers of this game broke free from a studio whose co-founder was reportedly hostile toward women, this accomplishment is even more significant.
My suggestion for fully enjoying Open Roads is to set aside a lazy afternoon, grab your favorite drink and some snacks, and make sure your headphones are on nice and tight. Turn up the volume so you can hear every plunk and tap of Tess’ world, and don’t try too hard to decipher the game’s secrets. Trust in the story and take it slow. This is a game worth savoring.
Open Roads is out now on consoles and PC, and it's part of the Xbox Game Pass library. It comes from Open Roads Team, published by Annapurna Interactive.
This article originally appeared on Engadget at https://www.engadget.com/open-roads-review-take-it-slow-and-savor-the-drama-160925576.html?src=rss
Open Roads is an easy game to get lost in. It tells a twisting tale about generational trauma — the tension, lies and love between mother and daughter — with all the comfort and warmth of an early 2000s network drama like Gilmore Girls or Charmed. As a former suburban teen myself, this game left me feeling equally exposed and understood.
Open Roads is set in 2003, and through environment and character design alone, it captures an authentic slice of life in this post-9/11, pre-Razr era. In the early aughts, I spent my teen years bouncing between Dad’s apartment on the outskirts of the city and Mom’s house in a dusty development site surrounded by grocery stores and Blockbuster Videos, and I had big dreams of escaping both. All this is to say, I relate to Open Roads' main character, Tess, who’s finishing up high school and planning a future in the hot new market of webpage design. Her parents are newly divorced and she’s been living with her mom, Opal, and grandma, Helen, outside of Detroit. Helen recently passed and her home is being sold against Opal’s wishes, so she and Tess are begrudgingly clearing it out and looking for a new place to stay.
Open Roads Team
The details of Tess’ family history are slowly exposed as she explores Grandma Helen’s home, told in old newspapers, photographs, books, postcards, heirlooms, phone calls and pottery-making materials. Tess and Opal eventually discover a suitcase hidden behind a false wall in the house, and it spurs them to embark on a road trip to long-lost locations from Opal’s past. Helen was a popular advice columnist and writer similar to Dear Abby, and her leftover letters, scattered around each environment, steadily peel back the layers of secrets that have enshrouded her, her daughter's and granddaughter's lives.
Every character in Open Roads has something to hide. I actually clocked the big twist about halfway through the game, but there was enough drama, doubt and emotional heft to keep me invested in the narrative regardless. Do yourself a favor and don’t look up any story spoilers — just enjoy the Open Roads ride.
Open Roads Team
This is exceedingly easy to do. Open Roads has expertly written dialogue, and its characters are infused with rich histories and complex motivations. The back and forth between Tess and Opal feels genuine for a teen daughter and her mother who’ve been trapped together in a car for hours on end: They quickly spark to anger and reconciliation, and just as easily act supremely silly around each other. A foundation of tenderness underlies their interactions. The voice acting, provided by mainstream television actors Keri Russell and Kaitlyn Dever, is superb, adding to the game’s immersive pull.
Open Roads uses a mix of 3D and 2D art — the backgrounds and interactable objects are 3D, while Tess and Opal are animated in hand-drawn 2D, moving in a floaty manner that reminds me of the early Disney classics. The styles work well together, for the most part. I found the visuals jarring in one section, when Tess and Opal were having a conversation in direct sunlight and the brightness of the scene made their 2D avatars look unfinished, unblended with the setting. Generally though, Open Roads is filled with engaging environments and beautiful details, with plenty of items to investigate and small puzzles to solve. The story unfurls naturally with every action prompt, and dialogue choices alter Tess and Opal’s trajectory throughout the game.
Open Roads Team
The sound design in Open Roads is particularly spectacular. Each object that Tess interacts with has a sound specific to its texture and weight. When Tess sets a cookie tin down on a kitchen countertop, it sounds like hollow metal scraping against wood; when she picks up a discarded cigar, the audio cues are soft and papery; Tess’ footsteps sound distinct on bare floorboards, carpet and rugs, with changes in density, bass and sharpness for each new material. Picking up Tess’ flip phone to text her BFF, I can hear the groaning of thick plastic hinges and the padded creaking as she rapidly presses down on the number pad. These sounds are crucial aspects of the game, louder than the bed of acoustic guitar or light synth that make up the soundtrack, and I’m entirely here for it. Open Roads is proof that ASMR exploration games should be a thing.
The features that will stick with me after finishing Open Roads are its sound design and its authenticity. There aren’t many games focused on the everyday lives and conversations of women, let alone mothers and daughters, and Open Roads is a testament to the power of these stories. The game oozes warmth and camaraderie, and its writing displays an abundance of respect toward the characters that drive its narrative. Every person with a voice in Open Roads is a woman, and Tess, Opal, Grandma Helen and Aunt August are each dynamic, sympathetic and flawed in unique ways. Considering the developers of this game broke free from a studio whose co-founder was reportedly hostile toward women, this accomplishment is even more significant.
My suggestion for fully enjoying Open Roads is to set aside a lazy afternoon, grab your favorite drink and some snacks, and make sure your headphones are on nice and tight. Turn up the volume so you can hear every plunk and tap of Tess’ world, and don’t try too hard to decipher the game’s secrets. Trust in the story and take it slow. This is a game worth savoring.
Open Roads is out now on consoles and PC, and it's part of the Xbox Game Pass library. It comes from Open Roads Team, published by Annapurna Interactive.
This article originally appeared on Engadget at https://www.engadget.com/open-roads-review-take-it-slow-and-savor-the-drama-160925576.html?src=rss
Waffle House is one of those uniquely American institutions-turned-meme. The 24/7 chain is not only a place where you can order a breakfast combo at 3AM, but where unruly customers have been known to show up ready to throw hands (and sometimes chairs). Given its notoriety for late-night brawls, it’s exactly the type of setting that would make for a perfect backdrop in a fighting game like Tekken 8 — and apparently, fans have been inquiring. Longtime Tekken director Katsuhiro Harada posted on X this weekend asking what the deal is with all the Waffle House requests.
Obviously, the question was posed in the days before April Fools’ Day, so I wouldn’t be surprised if there turned out to be some jest baked into it all. But now that we’re having the conversation…
Ok, I will only ask once about this request. Why do some communities send me requests for "Waffle House"?
Please be sure to explain the basis for the request, including the original story, history and background.
“Ok, I will only ask once about this request,” Harada posted. “Why do some communities send me requests for ‘Waffle House’? Please be sure to explain the basis for the request, including the original story, history and background. I look forward to an explanation from someone who knows more.”
Harada followed it up with another post thanking everyone who explained it and saying he understands, but went on to say, “The restaurant has both the trademark and the rights to the restaurant, so if the restaurant chain's headquarters refuses to accept my proposal, it will not happen.” Waffle House now has an opportunity to do something pretty funny here.
But that shouldn’t come before Waffle House adequately addresses the concerns of its employees, some of whom have been vocal in the last year about low wages and a lack of security. Employees from some locations are on strike, and the Union of Southern Service Workers has put together a petition demanding Waffle House implement changes to improve working conditions. Until that's resolved, any collaboration with the fighting game would just be in poor taste.
This article originally appeared on Engadget at https://www.engadget.com/tekken-director-apparently-keeps-getting-requests-to-add-a-waffle-house-stage-211913943.html?src=rss
Waffle House is one of those uniquely American institutions-turned-meme. The 24/7 chain is not only a place where you can order a breakfast combo at 3AM, but where unruly customers have been known to show up ready to throw hands (and sometimes chairs). Given its notoriety for late-night brawls, it’s exactly the type of setting that would make for a perfect backdrop in a fighting game like Tekken 8 — and apparently, fans have been inquiring. Longtime Tekken director Katsuhiro Harada posted on X this weekend asking what the deal is with all the Waffle House requests.
Obviously, the question was posed in the days before April Fools’ Day, so I wouldn’t be surprised if there turned out to be some jest baked into it all. But now that we’re having the conversation…
Ok, I will only ask once about this request. Why do some communities send me requests for "Waffle House"?
Please be sure to explain the basis for the request, including the original story, history and background.
“Ok, I will only ask once about this request,” Harada posted. “Why do some communities send me requests for ‘Waffle House’? Please be sure to explain the basis for the request, including the original story, history and background. I look forward to an explanation from someone who knows more.”
Harada followed it up with another post thanking everyone who explained it and saying he understands, but went on to say, “The restaurant has both the trademark and the rights to the restaurant, so if the restaurant chain's headquarters refuses to accept my proposal, it will not happen.” Waffle House now has an opportunity to do something pretty funny here.
But that shouldn’t come before Waffle House adequately addresses the concerns of its employees, some of whom have been vocal in the last year about low wages and a lack of security. Employees from some locations are on strike, and the Union of Southern Service Workers has put together a petition demanding Waffle House implement changes to improve working conditions. Until that's resolved, any collaboration with the fighting game would just be in poor taste.
This article originally appeared on Engadget at https://www.engadget.com/tekken-director-apparently-keeps-getting-requests-to-add-a-waffle-house-stage-211913943.html?src=rss
X is funding a lawsuit filed by Chloe Happe against her former employer Block, which was founded by Jack Dorsey, the same person who founded the website formerly known as Twitter. In her lawsuit, Happe said Block had wrongfully fired her in retaliation for two posts she made on what she called her "pseudonymous, satirical account" on X while on her personal time. One of the posts made after the October 7 Hamas attacks on Israel referenced refugees fleeing Gaza and and coming to the region of Kurdistan. In another, she used ableist language and a slur against transgender people while referencing the use of a "gender neutral restroom in the office."
Happe repeatedly stressed that she "expressed her political views, opinions, or beliefs in the form of satire." She said she did not mention Block in any post on her anonymous account and that she did not make those posts during her work hours. Happe also said that she "voluntarily deleted" the post on refugees within days of posting. She deleted the post with the slurs on the same day she made it upon seeing that X had limited its visibility.
But Block still obtained copies of the posts and wouldn't tell her if another employee had complained about it, she argued in her lawsuit, admitting that she initially denied making them out of fear that she could get in trouble. She accused Block of terminating her, without severance, solely because she expressed views the company disagreed with. Happe argued that Block's policies expressly allowed its employees to engage in speech like her post, so it was the company that violated its own rules. Jack Dorsey, the founder of both Block (a financial services company) and Twitter, had publicly endorsed Elon Musk before the latter took over ownership of the social media platform. Last year, though, he changed his tune and criticized Musk, saying "it all went south" after he took over and that he "should have walked away" from the acquisition.
On his account, Elon Musk retweeted X's announcement that it's supporting Happe's lawsuit with the caption: "Supporting your right to freedom of speech." The company had previously funded other lawsuits in the name of "free speech." One of those cases is Gina Carano's lawsuit against Lucasfilm and Disney, which she accused of removing her from The Mandalorian for expressing views that were "not in line with the acceptable narrative of the time." Carano notably questioned the effectiveness of COVID-19 vaccines and added "boop/bop/beep" as her pronouns. She also shared a post on Instagram that compared the treatment of conservatives in America to the treatment of Jews in Nazi-era Germany.
Happe is asking the court to order her reinstatement as a Block employee. She is also asking for compensatory and punitive damages, including for loss of pay from the time she was terminated.
This article originally appeared on Engadget at https://www.engadget.com/x-is-funding-a-lawsuit-against-jack-dorseys-block-to-support-the-right-to-freedom-of-speech-073059007.html?src=rss
X is funding a lawsuit filed by Chloe Happe against her former employer Block, which was founded by Jack Dorsey, the same person who founded the website formerly known as Twitter. In her lawsuit, Happe said Block had wrongfully fired her in retaliation for two posts she made on what she called her "pseudonymous, satirical account" on X while on her personal time. One of the posts made after the October 7 Hamas attacks on Israel referenced refugees fleeing Gaza and and coming to the region of Kurdistan. In another, she used ableist language and a slur against transgender people while referencing the use of a "gender neutral restroom in the office."
Happe repeatedly stressed that she "expressed her political views, opinions, or beliefs in the form of satire." She said she did not mention Block in any post on her anonymous account and that she did not make those posts during her work hours. Happe also said that she "voluntarily deleted" the post on refugees within days of posting. She deleted the post with the slurs on the same day she made it upon seeing that X had limited its visibility.
But Block still obtained copies of the posts and wouldn't tell her if another employee had complained about it, she argued in her lawsuit, admitting that she initially denied making them out of fear that she could get in trouble. She accused Block of terminating her, without severance, solely because she expressed views the company disagreed with. Happe argued that Block's policies expressly allowed its employees to engage in speech like her post, so it was the company that violated its own rules. Jack Dorsey, the founder of both Block (a financial services company) and Twitter, had publicly endorsed Elon Musk before the latter took over ownership of the social media platform. Last year, though, he changed his tune and criticized Musk, saying "it all went south" after he took over and that he "should have walked away" from the acquisition.
On his account, Elon Musk retweeted X's announcement that it's supporting Happe's lawsuit with the caption: "Supporting your right to freedom of speech." The company had previously funded other lawsuits in the name of "free speech." One of those cases is Gina Carano's lawsuit against Lucasfilm and Disney, which she accused of removing her from The Mandalorian for expressing views that were "not in line with the acceptable narrative of the time." Carano notably questioned the effectiveness of COVID-19 vaccines and added "boop/bop/beep" as her pronouns. She also shared a post on Instagram that compared the treatment of conservatives in America to the treatment of Jews in Nazi-era Germany.
Happe is asking the court to order her reinstatement as a Block employee. She is also asking for compensatory and punitive damages, including for loss of pay from the time she was terminated.
This article originally appeared on Engadget at https://www.engadget.com/x-is-funding-a-lawsuit-against-jack-dorseys-block-to-support-the-right-to-freedom-of-speech-073059007.html?src=rss