If it's still too early to declare platform-exclusive podcast deals dead as we move into 2023, it's becoming ever clearer that this business model is likely not long for this world. From a report: Spotify in particular has spent the past few years building up its arsenal of exclusive podcast content, shelling out more than $1 billion to acquire studios, lock down popular shows and secure marquee names. Those include podcasting behemoth Joe Rogan, former Presidential couple the Obamas (through their Higher Ground media company) and even the Duke and Duchess of Sussex. But the tide is turning as we enter what many observers project to be a difficult year for the podcasting industry. As in the streaming video space, the major audio players are reportedly reining in their spending amid economic pressures, bringing the booming market of the last several years toward a close.

[...] For one thing, as the digital ad market continues to sag in the months ahead, competition for podcast ad dollars is going to intensify further -- bad news for any creator whose show is limited to a single platform. Despite exponential growth in the number of shows available to listeners -- on Spotify alone, that number grew from around 700,000 at the end of 2019 to 4.7 million in September 2022, per company reports -- the podcast ad market, while still growing, has not expanded nearly as rapidly. Spotify's U.S. podcast ad revenue is projected to steadily increase by about 40 percent year-over-year through 2024, far down from the explosive growth rates of 2020 and 2021 as its podcast operations expanded.

An anonymous reader quotes a report from Motherboard, written by Katie Way: MILF Manor is a reality TV show made to be dissected on the internet. Everything, from its ripped-from-30-Rock title to the Oedipal set-up of mothers and their sons thrown into the same "dating pool," is so patently outrageous that it boomerangs back into normalcy -- of course these mothers need to participate in a blindfolded contest to identify their sons by their abs alone. But MILF Manor's most understated quirk is the one that sticks out to me: There's no tanned, vaguely handsome man with veneers and a dress shirt directing the festivities. Instead, contestants receive alerts and directions via text, on iPhones in magenta cases that seem to be provided by the producers. Like more and more reality TV competition shows, there's no actual host.

By my estimation, Netflix's The Circle kicked the trend off in 2020. Its contestants, who compete to create the most lovable social media presence in physical isolation, receive prompts and challenges from a big-screen TV in their living quarters. Pressure Cooker, a more recent offering from the streaming giant, is a cooking competition show where the host is replaced by a kitchen ticket printer: Competitions receive challenge instructions and the results of game-ending votes in the same way chefs take orders from their diners. The Button, a YouTube speed dating series by the production company Cut, goes a step further with the introduction of a large talking button that cracks jokes and prompts daters to ask each other cringe-worthy questions until one of them presses it, ending the date and sending in another option.

Why axe the role of host when it's been a staple of the formula for so long? It could be a sign of the recession. Reality TV competition shows are famously among the cheapest television to produce, but if I've learned anything about business, it's that executives have never met a corner they're not dying to cut. It could also be that the role of reality TV host is not attracting the same iconic cultural figures it once was, when the subgenre exploded in popularity in the early 2000s. [...] At the core, though, I believe there's something more insidious at play: Robots are once again stealing jobs from red-blooded human workers. Only this time, instead of factory linemen or fast food cashiers, these laborers are C-List comedians and guys who are incredibly symmetrical but not quite hot. (Again, Jeff Probst, I am not talking about you!) Sure, I know machine intelligence doesn't experience emotion -- yet! -- and I know that all of these robo-hosts are likely operated by producers -- for now! But isn't toying with people in a high-stress, high-stakes situation, the exact job description of a reality competition host, the absolute dream gig for a robot? Seems a little too perfect. "Experts already predict that AI and machine learning could replace people working as couriers, investment analysts, and customer service representatives," concludes Way. "Adding reality competition show hosts to that list means the creep into our cultural landscape has already started, which is a distinctly scary thought, in my book. Our flesh is weak, our MILFs are fragile, and we are so, so vulnerable to the clinical calculations of our machine overlords -- uh, I mean, hosts."

Will moviegoers ever get superhero fatigue? Marvel boss Kevin Feige doesn't buy it, saying on a new podcast interview that there are 80 years of "groundbreaking" stories told in the Marvel comics that they can adapt into "different genres." From a report: "I've been at Marvel Studios for over 22 years, and most of us here at Marvel Studios have been around a decade or longer together," Feige said on "The Movie Business Podcast," hosted by Jason E. Squire, an author and professor at the USC School of Cinematic Arts. "From probably my second year at Marvel, people were asking, 'Well, how long is this going to last? Is this fad of comic book movies going to end?'"

Feige continued, "I didn't really understand the question. Because to me, it was akin to saying after 'Gone With the Wind,' 'Well, how many more movies can be made off of novels? Do you think the audience will sour on movies being adapted from books?' You would never ask that because there's an inherent understanding among most people that a book can be anything. A novel can have any type of story whatsoever. So it all depends on what story you're translating. Non-comic readers don't understand that it's the same thing in comics." Referencing the rich catalog of Marvel comics, which date back to 1939, Feige said there are countless stories for the studio to adapt in various genres.

"One of the most beloved sci-fi novels of the 21st century finally has been adapted for television to huge acclaim," writes Esquire, "and it's out now." Their article includes embedded videos of Tencent Video's live-action adaptation of Three-Body Problem, which is streaming free on YouTube with English subtitles. "They're already getting great reviews online, with an 8.7 IMDb score for the adaptation that is being acclaimed for its faithfulness to the original bestselling novel."

Long-time Slashdot reader gordm writes: The YouTube playlist offers the first 4 episodes (of a 30 episode series) for free, although the videos include Chinese ads.... Be sure your YouTube subtitles are turned on.

I've only watched episode one and noted the most unpleasant reaction I had during my first-read of the book is front-loaded into episode one of the show... that is, it is suggested GMO and advanced technologies are a blight upon humanity. I kept reading, and I'm glad I did. But for any viewers put off by that moment, and not knowing what Three-Body Problem is about... that moment pays off later.
Esquire calls the original book "not only the most successful Chinese science fiction novel of the century so far, but likely the most successful and acclaimed science fiction series in the world since 2000, winning the Hugo Award and the Nebula Award for Best Novel..."

Netflix says its own adaptation of Three-Body Problem will also be released before the end of 2023.

In the latest test build of Windows 11, a new volume mixer can be enabled that looks a lot like EarTrumpet. The Verge's Tom Warren reports: The new Windows 11 feature provides quick access from the taskbar to switch audio outputs and control individual app volumes. That's exactly what EarTrumpet was built for nearly five years ago. The awesome utility has improved audio in Windows for years, and I once called it "the Windows 10 volume control app Microsoft should have created." How ironic.

Former Microsoft engineer Dave Amenta and Microsoft MVP Rafael Rivera created EarTrumpet, and Rivera pointed out the similarities of Microsoft's new Windows 11 feature on Twitter this week. "Oh snap. Microsoft is catching up to EarTrumpet," said Rivera. [...]

The operating system has long needed improvements here, and Windows users shouldn't really have to resort to third-party tools that put another volume icon in your system tray. Microsoft's implementation isn't as quick and easy as EarTrumpet, but there's still time for the company to refine it before launch.

Stephen Colbert is joining the team that is adapting Roger Zelazny's "The Chronicles of Amber" for television. Variety reports: Colbert will now executive produce the potential series under his Spartina production banner. Spartina joins Skybound Entertainment and Vincent Newman Entertainment (VNE) on the series version of the beloved fantasy novels, with Skyboudn first announcing their intention to develop the series back in 2016. The books have been cited as an influence on "Game of Thrones," with author George R.R. Martin recently stating he wanted to see the books brought to the screen.

"The Chronicles of Amber" follows the story of Corwin, who is said to "awaken on Earth with no memory, but soon finds he is a prince of a royal family that has the ability to travel through different dimensions of reality (called 'shadows') and rules over the one true world, Amber." The story is told over ten books with two story arcs: "The Corwin Cycle" and "The Merlin Cycle." The series has sold more than fifteen million copies globally. The search is currently on for a writer to tackle the adaptation. No network or streamer is currently attached. Colbert and Spartina are currently under a first-look deal at CBS Studios, but they are not currently the studio behind the series. "George R.R. Martin and I have similar dreams," Colbert said. "I've carried the story of Corwin in my head for over 40 years, and I'm thrilled to partner with Skybound and Vincent Newman to bring these worlds to life. All roads lead to Amber, and I'm happy to be walking them."

An anonymous reader quotes a report from Ars Technica: According to a new study, a little over 70 percent of prescription drugs advertised on television were rated as having "low therapeutic value," meaning they offer little benefit compared with drugs already on the market. The study, appearing in JAMA Open Network, aligns with longstanding skepticism that heavily promoted drugs have high therapeutic value. "One explanation might be that drugs with substantial therapeutic value are likely to be recognized and prescribed without advertising, so manufacturers have greater incentive to promote drugs of lesser value," said the authors, which include researchers at Harvard, Yale, and Dartmouth.

For the new study, researchers led by Aaron Kesselheim, who leads Harvard's Program On Regulation, Therapeutics, And Law (PORTAL), looked at monthly lists of the top-advertised drugs on TV in the US between 2015 and 2021. They also looked up therapeutic value ratings for those drugs from independent health assessment agencies in Canada, France, and Germany. The value ratings were based on drugs' therapeutic benefit, safety profile, and strength of evidence, as compared with existing drugs. Any drug rated "moderate" or above was classified as a "high value" drug for the study. For drugs with multiple ratings, the study authors used the most favorable rating, which they note could overestimate the proportion of higher-benefit drugs.

Of the top advertised drugs, 73 had at least one value rating. Collectively, pharmaceutical companies spent $22.3 billion on advertising for those 73 drugs between 2015 and 2021. Even with the generous ratings, 53 of the 73 drugs (roughly 73 percent) were categorized as low-benefit. Collectively, these low-benefit drugs accounted for $15.9 billion of the ad spending. The top three low-benefit drugs by dollar amount were Dulaglutide (type 2 diabetes), Varenicline (smoking cessation), and Tofacitinib (rheumatoid arthritis). The outlook for change is bleak, the authors note. "Policy makers and regulators could consider limiting direct-to-consumer advertising to drugs with high therapeutic or public health value or requiring standardized disclosure of comparative effectiveness and safety data," Kesselheim and his colleagues concluded, "but policy changes would likely require industry cooperation or face constitutional challenge." The report notes that the U.S. is "one of only two countries that allows direct-to-consumer (DTC) drug advertisements, such as TV commercials." The other is New Zealand.

China has lifted its unofficial ban on Marvel titles, bestowing release dates for two major superhero tentpoles, "Black Panther: Wakanda Forever" and "Ant-Man and The Wasp: Quantumania." Variety reports: "Black Panther: Wakanda Forever," which was released everywhere else in the world last November, will open in China on Feb. 7. Shortly after, "Ant-Man and The Wasp: Quantumania" will be released on Feb. 17, the same day the sequel touches down in the U.S. and the U.K. The dates were released via Marvel's Chinese social media accounts.

Those movies will be the first Marvel adventures to play in China since 2019's "Avengers: Endgame" (which made a staggering $632 million in the territory) and "Spider-Man: Far From Home" (which brought in $198 million in the territory). In the past, Marvel movies have been extremely popular in China, with "Black Panther" grossing $105 million and "Ant-Man and the Wasp" earning $121 million in the country.

It's not clear why recent titles from Disney and other major studios have been denied release in China. But it is most likely sabre rattling directed towards the U.S. during a period of increased tensions, especially with jingoistic political events like the 100th anniversary of the Chinese Communist Party and the 20th National Congress happening in 2021 and 2022 respectively.

Netflix is expected to report its slowest quarterly revenue growth on Thursday as its ad-supported plan struggles to attract customers in the saturating U.S. market, which could pressure the company to pull back on content spending this year. Reuters reports: The streaming pioneer has been reeling under strained consumer spending, rising costs of financing production and increased competition from Disney+ and Amazon Prime. It had pinned its hopes on the launch of the ad-supported tier, but analysts say they have not seen a burst of subscriptions.

The company is expected to have added 4.5 million subscribers in the fourth quarter - the lowest addition for the holiday period since 2014. It added 8.3 million subscribers a year ago. The $6.99 per month ad-supported plan does not have access to all titles and is not cheap enough to win over significant numbers of customers in the United States and Canada, analysts say. That is likely to draw focus on Netflix's aggressive content spending, which finance chief Spencer Neumann said in July would total about $17 billion annually for the next couple of years.

"I saw the future at CES 2023," writes Geoffrey Morrison, describing "a new, top-secret prototype display technology" that could one day replace LCD and OLED for phones and TVs. "It was impossibly flat, like a vibrantly glowing piece of paper."

Meet electroluminescent quantum dots: Until now, quantum dots were always a supporting player in another technology's game. A futuristic booster for older tech, elevating that tech's performance. QDs weren't a character on their own. That is no longer the case. The prototype I saw was completely different. No traditional LEDs and no OLED. Instead of using light to excite quantum dots into emitting light, it uses electricity. Nothing but quantum dots. Electroluminescent, aka direct-view, quantum dots. This is huge.

Or at least, has the potential to be huge. Theoretically, this will mean thinner, more energy-efficient displays. It means displays that can be easier, as in cheaper, to manufacture. That could mean even less expensive, more efficient, bigger-screen TVs. The potential in picture quality is at least as good as QD-OLED, if not better. The tech is scalable from tiny, lightweight, high-brightness displays for next-generation VR headsets, to highly efficient phone screens, to high-performance flat-screen TVs.
The article predicts the simpler structure means "Essentially, you can print an entire QD display onto a surface without the heat required by other 'printable' tech.... Just about any flat or curved surface could be a screen." This leads to QD screens not just on TVs and phones, but on car windshields, eyeglass lenses, and even bus or subway windows. ("These will initially be pitched by cities as a way to show people important info, but inevitably they'll be used for advertising. That's certainly not a knock against the tech, just how things work in the world....")

Nanosys is calling this direct-view, electroluminescent quantum dot tech "nanoLED," and told CNET that "their as-yet-unnamed manufacturing partner is going to be talking more about the technology in a few months...

"Even Nanosys admits direct-view quantum dot displays are still several years away from mass production.... But 5-10 years from now we'll almost certainly have options for QD [quantum dot] displays in our phones, probably in our living rooms, and possibly on our windshields and windows."

In the mid-1970s, Chilean filmmaker Alejandro Jodorowsky tried to film Dune (working with artists including H.R. Giger). A documentary about that attempt was filmed by Frank Pavich, who now writes in the New York Times that "The cast would have included Mick Jagger, Orson Welles, Salvador Dalí and Alejandro's 12-year-old son, Brontis, in the lead role. The soundtrack would have been composed and recorded by Pink Floyd.... It will forever be the greatest film never made, because it exists solely in our imaginations."

Just because you cannot watch Alejandro's "Dune" doesn't mean it didn't change the world. This unfilmed film's influence on our culture is nothing short of astounding. Specific ideas and images from the "Dune" art bible have escaped into the world. They can be experienced in movies such as "Blade Runner," "Raiders of the Lost Ark," "Prometheus," "The Terminator" and even the original "Star Wars." His "Dune" does not exist, yet it's all around us.
Nearly half a century later... I was recently shown some frames from a film that I had never heard of: Alejandro Jodorowsky's 1976 version of "Tron." The sets were incredible. The actors, unfamiliar to me, looked fantastic in their roles. The costumes and lighting worked together perfectly. The images glowed with an extravagant and psychedelic sensibility that felt distinctly Jodorowskian.

However, Mr. Jodorowsky, the visionary Chilean filmmaker, never tried to make "Tron." I'm not even sure he knows what "Tron" is. And Disney's original "Tron" was released in 1982. So what 1970s film were these gorgeous stills from...? The truth is that these weren't stills from a long-lost movie. They weren't photos at all. These evocative, well-composed and tonally immaculate images were generated in seconds with the magic of artificial intelligence.
The article notes that the real Jodorowsky is now almost 94 — and is planning to direct a new film. But it also points out that in the early 1970s Jodorowsky's team put in "two years of pure analog struggle to create his Dune," — while Canadian film director Johnny Darrell generated the Tron images in less than a minute using an A.I. program called Midjourney. Pavich says this raises several questions. "Has Alejandro been robbed? Is the training of this A.I. model the greatest art heist in history? How much of art-making is theft, anyway?"

In his great documentary F for Fake Orson Welles intones wrly that "A forgery — is still a painting." So Pavich's piece concludes with perhaps the ultimate question. "What will it mean when directors, concept artists and film students... can paint using all the digitally archived visual material of human civilization? When our culture starts to be influenced by scenes, sets and images from old films that never existed or that haven't yet even been imagined?

"I have a feeling we're all about to find out."

A Canadian systems security consultant discovered that an Android TV box purchased from Amazon was pre-loaded with persistent, sophisticated malware baked into its firmware. BleepingComputer reports: The malware was discovered by Daniel Milisic, who created a script and instructions to help users nullify the payload and stop its communication with the C2 (command and control) server. The device in question is the T95 Android TV box with an AllWinner T616 processor, widely available through Amazon, AliExpress, and other big e-commerce platforms. It is unclear if this single device was affected or if all devices from this model or brand include the malicious component.

Milisic believes the malware installed on the device is a strain that resembles 'CopyCat,' a sophisticated Android malware first discovered by Check Point in 2017. This malware was previously seen in an adware campaign where it infected 14 million Android devices to make its operators over $1,500,000 in profits. The analyst tested the stage-1 malware sample on VirusTotal, where it returns only 13 detections out of 61 AV engine scans, classified with the generic term of an Android trojan downloader. [...]

Unfortunately, these inexpensive Android-based TV box devices follow an obscure route from manufacturing in China to global market availability. In many cases, these devices are sold under multiple brands and device names, with no clear indication of where they originate. [...] To avoid such risks, you can pick streaming devices from reputable vendors like Google Chromecast, Apple TV, NVIDIA Shield, Amazon Fire TV, and Roku Stick.

Sony has a pair of new Android Walkmans out, the NW-A300 and NW-ZX700. Ars Technica reports: We'll start with the most consumer-friendly of the two, the NW-A300. This basic design debuted in 2019 with the NW-A105, but that shipped with Android 9. This is an upgraded version of that device with a less-ancient version of Android, a new SoC, and a scalloped back design. In Sony's home of Japan, the 32GB version is 46,000 yen (about $360), while in Europe, it's 399 euro (about $430). The NW-A300 is a tiny little device that measures 56.6x98.5x12 mm, so pretty close to a deck of playing cards. [...] The front is dominated by a 3.6-inch, 60 Hz, 1280x720 touchscreen LCD. There's 32GB of storage, and the device supports Wi-Fi 802.11AC and Bluetooth 5. That's about all Sony wants to talk about for official specs. It touts "longer battery life" but won't say how big the battery is, promising only "36 hours* of 44.1 KHz FLAC playback, up to 32 hours* of 96 KHz FLAC High-Resolution Audio playback." Presumably, that's all with the screen off. [...] This is a music player, so of course, there's a headphone jack on the bottom of the unit. You'll also find a spot for a lanyard, a speedy USB-C 3.2 Gen1 port for quick music transfers, and a MicroSD slot for storing all your music. Buttons along the side of the device also give you every music control you could want, like a hold switch, previous, play/pause, next, volume controls, and power.

There's another new Sony Walkman, the NW-ZX700. It's 104,500 yen ($818) in Japan, and while that sounds like a lot for a portable music player, it's actually a relative bargain compared to the "Signature Series" NW-WM1ZM2, which goes for an eye-popping $3,700 thanks to audiophile hocus-pocus like a "gold plated, oxygen-free, copper body." Anyway, back to this $800 model. Unlike regular phone equipment, this has a proper audio amplifier with big, beefy capacitors to power the analog audio output. That makes it much bigger than the A300, at 72.6x132 mm and a whopping 17 mm thick. It also has two audio outs: a standard 3.5 mm headphone jack and a 4.4 mm "balanced" audio jack, which is used by some high-end audio equipment. I'm sure Sony has a wonderful headphone collection to match. [...] Both this and the A300 use the S-Master HX digital amplifier chip, which supports Sony's high-resolution "NativeDSD" audio format, which is also used on Super Audio CDs. If you're some kind of heathen that is just streaming 128kb Spotify, Sony's "DSEE Ultimate" feature dubiously claims to be able to "upscale" your music with AI. There's also a "Vinyl Processor" that will add record player noises to your audio for an "authentic listening experience."

DirecTV is laying off hundreds of employees -- roughly 10% of its upper ranks -- as the company looks to reduce costs amid the heightened pain of cord cutting for pay-TV providers, according to people familiar with the matter. CNBC reports: Most of the job cuts will be at the manager level, the people said, citing an email to employees sent on Friday. Managers make up about half of DirecTV's fewer than 10,000 employees, one of the people said. The affected employees' last day will be Jan. 20. "The entire pay-TV industry is impacted by the secular decline and the increasing rates to secure and distribute programming," a DirecTV spokesperson said in a statement. "We're adjusting our operations costs to align with these changes and will continue to invest in new entertainment products and service enhancements."

DirecTV and its peers have long been under pressure as customers cut the cord and opt for streaming services. The rate of cord cutting accelerated in the third quarter, according to MoffettNathanson. [...] DirecTV reportedly lost around 500,000 customers in its most recent quarter, according to ratings agency Fitch. Although DirecTV's losses slowed during the height of the pandemic, they recently accelerated to nearly 17%, according to MoffettNathanson.

Paramount+ has given an eight-episode, straight-to-series order to an adaptation of Hasbro's wildly popular Dungeons & Dragons fantasy role-playing game franchise. Deadline reports: Red Notice filmmaker Rawson Marshall Thurber wrote the pilot script and is set to direct the first episode of the series which will be a co-production between eOne and Paramount Pictures. At Paramount+, the Dungeons & Dragons series will join Halo, the video game adaptation, which is one of the streamer's most popular originals. Over the last couple of years, there has been a resurgence in bringing gaming titles to television, and this is the latest example.

Adapting Dungeons & Dragons for television has been a major focus for eOne under President of Global Television Michael Lombardo following the company's 2019 acquisition by Hasbro. The live-action series has been tipped to be the studio's largest-scope TV project ever, potentially launching a "Dungeons & Dragons" universe spanning multiple scripted and unscripted shows. Overseeing the series for eOne is Gabriel Marano, the company's EVP Scripted Television.

AmiMoJo writes: Belarusian dictator Alexander Lukashenko has signed a new law that legalizes piracy of movies, music, TV shows and software owned by rightsholders from 'unfriendly countries'. The law also allows goods protected by intellectual property law to be imported from any country without obtaining permission from rightsholders.

Lukashenko's support for Russia's invasion of Ukraine led to new sanctions being imposed by the EU, U.S. and other countries. In common with Russia, Belarus relies on intellectual property owned by foreign rightsholders that are currently unable or unwilling to supply and/or license it. So, to ensure legal access to pirated movies, music, TV shows and software, the government drafted a new law to restrict intellectual property rights.

"Singaporean inventor and tech pioneer Sim Wong Hoo passed away on January 4th at the age of 67," reports Engadget: Sim may not be a household name these days, but he founded Creative Technology (or Creative Labs in the US), the company behind the Sound Blaster brand of sound cards, back in 1981. Sound Blasters were some of the first sound cards available to consumers, and there was a time when you had to make sure your system worked with them if you wanted to listen to music and play games.

Sim established his business in the US and started selling Sound Blasters a few years later, after which Creative became the first Singaporean company to be listed on the Nasdaq exchange. The integration of sound boards into the motherboard ended Sound Blaster's popularity, but Bloomberg says the cards provided audio for more than 400 million PCs.

Under his leadership, Creative also launched a range of MP3 players, and Sim once tried to take on Apple by spending $100 million on advertising and marketing in its bid to dethrone the iPod. In 2006, Creative sued Apple for violating its patent for portable media system menus. The companies filed more lawsuits against each other after that before Apple settled with Creative and paid the company $100 million for the technology outlined in its patent.

"We are seeing, across the gamut, products that impact our privacy, products that create cybersecurity risks, that have overarchingly long-term environmental impacts, disposable products, and flat-out just things that maybe should not exist."

That's the CEO of the how-to repair site iFixit, introducing their third annual "Worst in Show" ceremony for the products displayed at this year's CES. But the show's slogan promises it's also "calling out the most troubling trends in tech." For example, the EFF's executive director started with two warnings. First, "If it's communicating with your phone, it's generally communicating to the cloud too." But more importantly, if a product is gathering data about you and communicating with the cloud, "you have to ask yourself: is this company selling something to me, or are they selling me to other people? And this year, as in many past years at CES, it's almost impossible to tell from the products and the advertising copy around them! They're just not telling you what their actual business model is, and because of that — you don't know what's going on with your privacy."

After warning about the specific privacy implications of a urine-analyzing add-on for smart toilets, they noted there was a close runner-up for the worst privacy: the increasing number of scam products that "are basically based on the digital version of phrenology, like trying to predict your emotions based upon reading your face or other things like that. There's a whole other category of things that claim to do things that they cannot remotely do."

To judge the worst in show by environmental impact, Consumer Reports sent the Associate Director for their Product Sustainability, Research and Testing team, who chose the 55-inch portable "Displace TV" for being powered only by four lithium-ion batteries (rather than, say, a traditional power cord).

And the "worst in show" award for repairability went to the Ember Mug 2+ — a $200 travel mug "with electronics and a battery inside...designed to keep your coffee hot." Kyle Wiens, iFixit's CEO, first noted it was a product which "does not need to exist" in a world which already has equally effective double-insulated, vaccuum-insulated mugs and Thermoses. But even worse: it's battery powered, and (at least in earlier versions) that battery can't be easily removed! (If you email the company asking for support on replacing the battery, Wiens claims that "they will give you a coupon on a new, disposable coffee mug. So this is the kind of product that should not exist, doesn't need to exist, and is doing active harm to the world.

"The interesting thing is people care so much about their $200 coffee mug, the new feature is 'Find My iPhone' support. So not only is it harming the environment, it's also spying on where you're located!"

The founder of SecuRepairs.org first warned about "the vast ecosystem of smart, connected products that are running really low-quality, vulnerable software that make our persons and our homes and businesses easy targets for hackers." But for the worst in show for cybersecurity award, they then chose Roku's new Smart TV, partly because smart TVs in general "are a problematic category when it comes to cybersecurity, because they're basically surveillance devices, and they're not created with security in mind." And partly because to this day it's hard to tell if Roku has fixed or even acknowledged its past vulnerabilities — and hasn't implemented a prominent bug bounty program. "They're not alone in this. This is a problem that affects electronics makers of all different shapes and sizes at CES, and it's something that as a society, we just need to start paying a lot more attention to."

And US Pirg's "Right to Repair" campaign director gave the "Who Asked For This" award to Neutrogena's "SkinStacks" 3D printer for edible skin-nutrient gummies — which are personalized after phone-based face scans. ("Why just sell vitamins when you could also add in proprietary refills and biometic data harvesting.")

"Hey Disney" is the answer to a riddle that nobody asked: What do you get when you cross Amazon's Alexa voice assistant with the voices of Disney characters?

Long-time Slashdot reader destinyland writes: In a few months (and for a few bucks) you'll be able to purchase what Amazon calls a "first-of-its-kind voice assistant" for your Echo devices. Yes, your favorite Disney, Pixar, and Star Wars characters will be available to tell you jokes or play trivia games — whether it's Mickey Mouse, Dory the fish from Finding Nemo, or Olaf the snowman from Frozen.

The popular gaming tech company just announced the Leviathan V2 Pro at CES 2023, the latest addition to its existing range of soundbars designed to provide compact, low-profile audio for PC gamers. The Verge reports: Created in partnership with THX and Audioscenic, Razer claims that the Leviathan V2 Pro can envelop a user with "3D audio" by combining beamforming surround sound with head-tracking AI technology. A built-in IR camera can detect the user's position, allowing the soundbar to optimize sound by adapting the audio beams to the listener's position in real time. There are two modes available for the 3D audio feature: THX Spatial Audio Virtual Headset for stereo content that allegedly mimics positional audio typically found in headsets and THX Spatial Audio Virtual Speakers for multi-channel audio that fills a room like a home theatre system. Given this is a Razer product, it also comes with customizable Chroma RGB lighting effects across 30 different lighting zones -- dwarfing the 18 zones you get on the standard Leviathan V2 soundbar.

The Razer Leviathan V2 Pro also comes with a subwoofer to enhance bass. A dedicated 3.5mm input for the subwoofer is included on the rear of the soundbar, alongside a second 3.5mm port for headphones, a power adapter port, and a single USB-C port to connect to your PC. The Leviathan V2 Pro also supports Bluetooth 5.0 if you want to wirelessly connect it to your computer or mobile device. Interesting features and funky lighting aside, pricing is going to be the hardest sell for the Leviathan V2 Pro. Starting at $399.99, it's considerably more expensive than both the standard Leviathan V2 ($249.99) and Leviathan V2 X ($99.99), but you do at least get more ports with this latest model. The Leviathan V2 Pro will be available to buy from February 2023 (if you have deep enough pockets for the purchase).