Social media platforms with infinite scrolling, auto-play and algorithmic feeds will be required to display warning labels about their potential harm to young users' mental health under a new law, New York Governor Kathy Hochul announced on Friday. From a report: "Keeping New Yorkers safe has been my top priority since taking office, and that includes protecting our kids from the potential harms of social media features that encourage excessive use," Hochul said in a statement.

This month Australia imposed a social media ban for children under 16. New York joins states like California and Minnesota that have similar social media laws. The New York law includes platforms that offer "addictive feeds," auto play or infinite scroll, according to the legislation. The law applies to conduct occurring partly or wholly in New York but not when the platform is accessed by users physically outside the state.

GitHub has disabled Rockchip's Media Process Platform repository after an FFmpeg developer filed a DMCA takedown notice, nearly two years after the open-source project first publicly accused the Chinese chipmaker of license violations. The notice, filed December 18, claims Rockchip copied thousands of lines of code from FFmpeg's libavcodec library -- including decoders for H.265, AV1, and VP9 formats -- stripped the original copyright notices, falsely claimed authorship and redistributed the code under Apache's permissive license rather than the original LGPL.

FFmpeg first called out Rockchip in February 2024 for "blatantly copy and pasting FFmpeg code" into its driver, but the chipmaker's last response suggested no intention to resolve the matter. The DMCA notice requests either removal of the infringing files or restoration of proper attribution and an LGPL-compatible license.

An anonymous reader shares a report: China on Friday launched three venture capital funds to invest in "hard technology" areas, state broadcaster CCTV reported. The capital contribution plans for the funds have been finalised, each with more than 50 billion yuan ($7.14 billion), according to the report. The funds will primarily invest in early-stage startups and the targets should be valued at less than 500 million yuan, an official said on Friday, adding that no single investment would amount to more than 50 million yuan.

An anonymous reader shares a report: Chinese social media users criticized two key government policies, rare signs of public dissent in the country where the internet is heavily censored. The death of the former head of China's one-child policy agency -- which for decades forced women to carry out abortions and sterilizations -- sparked criticism of the demographic effort, with one netizen lamenting the "children who were lost."

Others, meanwhile, criticized Beijing's leadership over its ongoing row with Tokyo, sparked by Japanese Prime Minister Sanae Takaichi saying her country could intervene to defend Taiwan in a potential Chinese attack on the self-ruled island, which Beijing claims as its own.

"In the age of Spotify and AI slop, tapes remind us what we're missing when we stop taking risks," writes author Janus Rose in an article for 404 Media. Here's an excerpt: There are lots of advantages to the cassette lifestyle. Unlike vinyl records, tapes are compact and super-portable, and unlike streaming, you never have to worry about a giant company suddenly taking them away from you. They can be easily duplicated, shared, and made into mixtapes using equipment you find in a junk shop. When I was a kid, the first music I ever owned were tapes I recorded from MTV with a Kids' Fisher Price tape recorder. I had no money, so I would listen to those tapes for hours, relishing every word Kim Gordon exhaled on my bootlegged copy of Sonic Youth's "Bull in the Heather." Just like back then, my rediscovery of cassettes has led me to start listening more intentionally and deeply, devoting more and more time to each record without the compulsion to hit "skip." Most of the cassettes I bought in Tokyo had music I probably never would have found or spent time with otherwise.

Getting reacquainted with tapes made me realize how much has been lost in the streaming era. Over the past two decades, platforms like Spotify co-opted the model of peer-to-peer filesharing pioneered by Napster and BitTorrent into a fully captured ecosystem. But instead of sharing, this ecosystem was designed around screen addiction, surveillance, and instant gratification -- with corporate middlemen and big labels reaping all the profits. Streaming seeks to virtually eliminate what techies like to call "user friction," turning all creative works into a seamless and unlimited flow of data, pouring out of our devices like water from a digital faucet. Everything becomes "Content," flattened into aesthetic buckets and laser-targeted by "perfect fit" algorithms to feed our addictive impulses. Thus the act of listening to music is transformed from a practice of discovery and communication to a hyper-personalized mood board of machine-optimized "vibes."

What we now call "AI Slop" is just a novel and more cynically efficient vessel for this same process. Slop removes human beings as both author and subject, reducing us to raw impulses -- a digital lubricant for maximizing viral throughput. Whether we love or hate AI Slop is irrelevant, because human consumers are not its intended beneficiaries. In the minds of CEOs like OpenAI's Sam Altman, we're simply components in a machine built to maintain and accelerate information flows, in order to create value for an insatiably wealthy investor class. [...]

Tapes and other physical media aren't a magic miracle cure for late-stage capitalism. But they can help us slow down and remember what makes us human. Tapes make music-listening into an intentional practice that encourages us to spend time connecting with the art, instead of frantically vibe-surfing for something that suits our mood from moment-to-moment. They reject the idea that the point of discovering and listening to music is finding the optimal collection of stimuli to produce good brain chemicals. More importantly, physical media reminds us that nothing good is possible if we refuse to take risks. You might find the most mediocre indie band imaginable. Or you might discover something that changes you forever. Nothing will happen if you play it safe and outsource all of your experiences to a content machine designed to make rich people richer.

After Anna's Archive published a massive scrape containing 86 million songs and metadata from Spotify, the streaming giant responded by disabling the nefarious accounts responsible. A spokesperson for Spotify told Recorded Future News that it "has identified and disabled the nefarious user accounts that engaged in unlawful scraping."

"We've implemented new safeguards for these types of anti-copyright attacks and are actively monitoring for suspicious behavior," the spokesperson said. "Since day one, we have stood with the artist community against piracy, and we are actively working with our industry partners to protect creators and defend their rights." The Record reports: The spokesperson added that Anna's Archive did not contact them before publishing the files. They also said it did not consider the incident a "hack" of Spotify. The people behind the leaked database systematically violated Spotify's terms by stream-ripping some of the music from the platform over a period of months, a spokesperson said. They did this through user accounts set up by a third party and not by accessing Spotify's business systems, they added.

Anna's Archive published a blog post about the cache this weekend, writing that while it typically focuses its efforts on text, its mission to preserve humanity's knowledge and culture "doesn't distinguish among media types." "Sometimes an opportunity comes along outside of text. This is such a case. A while ago, we discovered a way to scrape Spotify at scale. We saw a role for us here to build a music archive primarily aimed at preservation," they said. "This Spotify scrape is our humble attempt to start such a 'preservation archive' for music. Of course Spotify doesn't have all the music in the world, but it's a great start."

Italy's antitrust regulator Italian Competition Authority ordered Meta to suspend a policy that blocks rival AI chatbots from using WhatsApp's business APIs, citing potential abuse of market dominance. "Meta's conduct appears to constitute an abuse, since it may limit production, market access, or technical developments in the AI Chatbot services market, to the detriment of consumers," the Authority wrote. "Moreover, while the investigation is ongoing, Meta's conduct may cause serious and irreparable harm to competition in the affected market, undermining contestability." TechCrunch reports: The AGCM in November had broadened the scope of an existing investigation into Meta, after the company changed its business API policy in October to ban general-purpose chatbots from being offered on the chat app via the API. Meta has argued that its API isn't designed to be a platform for the distribution of chatbots and that people have more avenues beyond WhatsApp to use AI bots from other companies. The policy change, which goes into effect in January, would affect the availability of AI chatbots from the likes of OpenAI, Perplexity, and Poke on the app.

An anonymous reader quotes a report from the Wall Street Journal: Concerned that artificial intelligence could threaten Communist Party rule, Beijing is taking extraordinary steps to keep it under control. Although China's government sees AI as crucial to the country's economic and military future, regulations and recent purges of online content show it also fears AI could destabilize society. Chatbots pose a particular problem: Their ability to think for themselves could generate responses that spur people to question party rule.

In November, Beijing formalized rules it has been working on with AI companies to ensure their chatbots are trained on data filtered for politically sensitive content, and that they can pass an ideological test before going public. All AI-generated texts, videos and images must be explicitly labeled and traceable, making it easier to track and punish anyone spreading undesirable content. Authorities recently said they removed 960,000 pieces of what they regarded as illegal or harmful AI-generated content during three months of an enforcement campaign. Authorities have officially classified AI as a major potential threat, adding it alongside earthquakes and epidemics to its National Emergency Response Plan.

Chinese authorities don't want to regulate too much, people familiar with the government's thinking said. Doing so could extinguish innovation and condemn China to second-tier status in the global AI race behind the U.S., which is taking a more hands-off approach toward policing AI. But Beijing also can't afford to let AI run amok. Chinese leader Xi Jinping said earlier this year that AI brought "unprecedented risks," according to state media. A lieutenant called AI without safety like driving on a highway without brakes. There are signs that China is, for now, finding a way to thread the needle.

Chinese models are scoring well in international rankings, both overall and in specific areas such as computer coding, even as they censor responses about the Tiananmen Square massacre, human-rights concerns and other sensitive topics. Major American AI models are for the most part unavailable in China. It could become harder for DeepSeek and other Chinese models to keep up with U.S. models as AI systems become more sophisticated. Researchers outside of China who have reviewed both Chinese and American models also say that China's regulatory approach has some benefits: Its chatbots are often safer by some metrics, with less violence and pornography, and are less likely to steer people toward self-harm. "The Communist Party's top priority has always been regulating political content, but there are people in the system who deeply care about the other social impacts of AI, especially on children," said Matt Sheehan, who studies Chinese AI at the Carnegie Endowment for International Peace, a think tank. "That may lead models to produce less dangerous content on certain dimensions."

Los Angeles Times (non-paywalled source): When police questioned Marvin Margolis following the murder of Elizabeth Short -- who became known as the Black Dahlia -- he lied about how well he had known her. The 22-year-old Short had been found mutilated in a weedy lot in South Los Angeles, severed neatly in half with what detectives thought was surgical skill. Margolis was on the list of suspects. He was a sullen 21-year-old premed student at USC, a shell-shocked World War II veteran who had expressed an eagerness to practice surgery. He was "a resentful individual who shows ample evidence of open aggression," a military psychiatrist had concluded.

At first, Margolis did not tell detectives that he had lived with Short for 12 days at a Hollywood Boulevard apartment, three months before her January 1947 murder. Margolis later admitted they had lived together in Apartment 726 at the Guardian Arms Apartments. But he soon moved to Chicago and changed his name, frustrating further attempts to question him. Among many suspects, a district attorney investigator would note, Margolis was "the only pre-medical student who ever lived as a boy friend with Beth Short."

A generation later and hundreds of miles north, a killer who called himself the Zodiac terrorized the San Francisco Bay Area with five seemingly random murders from 1968 to 1969, taunting police and media for years with letters and cryptograms. The toughest to decipher was the letter he sent in April 1970 to the San Francisco Chronicle, with the words "My name is -" followed by a 13-character string of letters and symbols. It came to be called the Z13 cipher, and its brevity has stymied generations of PhDs and puzzle prodigies.

Alex Baber, a 50-year-old West Virginia man who dropped out of high school and taught himself codebreaking, now says he has cracked the Zodiac killer's identity -- and in the process solved the Black Dahlia case as well. "It's irrefutable," said Baber, obsessive, hyperfocused and cocksure in manner, his memory encyclopedic and his speech a firehose of dates, locations and surprising linkages.

[...] To attack the problem, Baber used artifical intelligence and generated a list of 71 million possible 13-letter names. Using known details of the Zodiac killer, based on witness descriptions, he cross-checked those names against military, marriage, census and other public records. "This takes me nine months of working 18-20 hour days," he said. "I'm starting to kill this onion. I'm starting to eliminate layers: Too tall, too short, or wrong race." The candidates narrowed to 185, to 14, and then, he said, to one. The name he found buried in the Z13 code: "Marvin Merrill."

YouTube has been winning the streaming wars for years, but its real competitive advantage comes not from prime-time viewing but from its stranglehold on daytime hours when Americans are meditating, exercising, cooking, or simply looking for background noise. At 11 a.m. in October, YouTube commanded an average audience of 6.3 million viewers compared to Netflix's 2.8 million, according to Nielsen data. Amazon drew about a million viewers at that hour, and HBO Max, Paramount+ and Peacock each pulled fewer than 600,000.

The gap narrows significantly at night -- Netflix's audience swells to over 11 million at 9 p.m., trailing YouTube's 12 million -- but YouTube's dominance reasserts itself in overnight hours and through the next day. Netflix is responding by bringing at least 34 video podcasts to its service next year, including "The Breakfast Club," "The Bill Simmons Podcast," and "Pardon My Take." Amazon added the Kelce brothers' "New Heights" podcast to Prime Video in September. The strategy is intentional: roughly 75 percent of all podcast listening happens between 6 a.m. and 6 p.m., according to Edison Research. YouTube said viewers watched 700 million hours of video podcasts on living room devices in October alone, a 75% increase from the previous year.

An anonymous reader quotes a report from the Associated Press: The State Department announced Tuesday it was barring five Europeans it accused of leading efforts to pressure U.S. tech firms to censor or suppress American viewpoints. The Europeans, characterized by Secretary of State Marco Rubio as "radical" activists and "weaponized" nongovernmental organizations, fell afoul of a new visa policy announced in May to restrict the entry of foreigners deemed responsible for censorship of protected speech in the United States. "For far too long, ideologues in Europe have led organized efforts to coerce American platforms to punish American viewpoints they oppose," Rubio posted on X. "The Trump Administration will no longer tolerate these egregious acts of extraterritorial censorship."

The five Europeans were identified by Sarah Rogers, the under secretary of state for public diplomacy, in a series of posts on social media. [...] The five Europeans named by Rogers are: Imran Ahmed, chief executive of the Centre for Countering Digital Hate; Josephine Ballon and Anna-Lena von Hodenberg, leaders of HateAid, a German organization; Clare Melford, who runs the Global Disinformation Index; and former EU Commissioner Thierry Breton, who was responsible for digital affairs. Rogers in her post on X called Breton, a French business executive and former finance minister, the "mastermind" behind the EU's Digital Services Act, which imposes a set of strict requirements designed to keep internet users safe online. This includes flagging harmful or illegal content like hate speech. She referred to Breton warning Musk of a possible "amplification of harmful content" by broadcasting his livestream interview with Trump in August 2024 when he was running for president.

An anonymous reader quotes a report from Ars Technica: CBS cannot contain the online spread of a "60 Minutes" segment that its editor-in-chief, Bari Weiss, tried to block from airing. The episode, "Inside CECOT," featured testimonies from US deportees who were tortured or suffered physical or sexual abuse at a notorious Salvadoran prison, the Center for the Confinement of Terrorism. "Welcome to hell," one former inmate was told upon arriving, the segment reported, while also highlighting a clip of Donald Trump praising CECOT and its leadership for "great facilities, very strong facilities, and they don't play games."

Weiss controversially pulled the segment on Monday, claiming it could not air in the US because it lacked critical voices, as no Trump officials were interviewed. She claimed that the segment "did not advance the ball" and merely echoed others' reporting, NBC News reported. Her plan was to air the segment when it was "ready," insisting that holding stories "for whatever reason" happens "every day in every newsroom." But Weiss apparently did not realize that the "Inside CECOT" would still stream in Canada, giving the public a chance to view the segment as reporters had intended.

Critics accusing CBS of censoring the story quickly shared the segment online Monday after discovering that it was available on the Global TV app. Using a VPN to connect to the app with a Canadian IP address was all it took to override Weiss' block in the US, as 404 Media reported the segment was uploaded to "to a variety of file sharing sites and services, including iCloud, Mega, and as a torrent," including on the recently revived file-sharing service LimeWire. It's currently also available to stream on the Internet Archive, where one reviewer largely summed up the public's response so far, writing, "cannot believe this was pulled, not a dang thing wrong with this segment except it shows truth." "Yo what," joked Reddit user Howzitgoin, highlighting only the word "LimeWire." Another user responded, "man, who knew my nostalgia prof pic would become relevant again, WTF."

"Bringing back LimeWire to illegally rip copies of reporting suppressed by the government is definitely some cyberpunk shit," a Bluesky user wrote.

"We need a champion against the darkness," a Reddit commenter echoed. "I side with LimeWire."

Tech giants Google and Apple are asking some employees with H-1B visas to reconsider international travel, as their legal teams warned that visa processing delays could keep employees abroad for months, according to Business Insider. From a report: Law firms representing the tech giants sent memos advising staff who require visa stamps for reentry to stay in the U.S., warning that international travel could entangle them in visa screening delays following the introduction of a new social media screening requirement, according to the news agency. The policy subjects H-1B workers and their dependents to reviews of their social media histories.

"Please be aware that some US Embassies and Consulates are experiencing significant visa stamping appointment delays, currently reported as up to 12 months," BAL Immigration Law, which represents Google, said in a memo obtained by Business Insider. The law firm said the delays were affecting H-1B, H-4, F, J and M visas.

Uber and Lyft plan to trial robotaxis in London starting in 2026 using autonomous vehicles from Baidu, as the UK fast-tracks approvals for self-driving cars on public roads. CNBC reports: Lyft's testing of Baidu's initial fleet of dozens of vehicles will begin in 2026, pending regulatory approval, "with plans to scale to hundreds from there," Lyft CEO David Risher said in a post on social media platform X on Monday. Meanwhile, Uber said that its first pilot is expected to start in the first half of 2026. "We're excited to accelerate Britain's leadership in the future of mobility, bringing another safe and reliable travel option to Londoners next year," the company added.

The moves add to Baidu's growing global footprint, which it says includes 22 cities and more than 250,000 weekly trips, as it races against other Chinese players like WeRide and Western giants like Alphabet's Waymo. The UK, in particular, has seen a wave of interest from driverless taxi companies, following the government's announcement in June that it would accelerate its plans to allow autonomous vehicle tech on public roads. The government now aims to begin permitting robotaxis to operate in small-scale pilots starting in spring 2026, with Baidu likely aiming to be among the first. The city of London has also established a "Vision Zero" goal to eliminate all serious injuries and deaths in its transportation systems by 2041, with autonomous driving technology expected to play a large role.

"Garmin's Collier Trophy award-winning Autonomi emergency Autoland, a system designed to safely land an aircraft in the event of pilot incapacitation, made its first real-world use and save on Saturday," writes Slashdot reader slipped_bit. AvBrief.com reports: Social media posts from flight tracking hobbyists reported a King Air 200 squawked 7700 about 2 p.m. local time today. The Autoland system was initiated and landed the aircraft at Rocky Mountain Metropolitan Airport near Denver. A recording from LiveATC's feed of the airport's tower frequency includes a robotic female voice declaring a pilot incapacitation and the intention to land on Runway 30. The aircraft landed successfully and there have been no reports of injuries. The nature of the incapacitation and the condition of the pilot have not been released. VASAviation put together this nice animation of the event [here].

The aircraft, N479BR, was being operated by Buffalo River Outfitters from Aspen to Rocky Mountain Metropolitan. It's not clear how many people were on board. The system appeared to work flawlessly, and the controller at Rocky Mountain Metropolitan seemed to take it in stride, accommodating as many requests as he could before shutting down the airport for the landing.

Australian restaurants facing a mounting cost-of-doing-business crisis are turning to automatic service charges as a way to shore up revenue. The practice is legal under Australian consumer law as long as customers are notified beforehand and can opt out, but it risks alienating diners in a country where tipping has traditionally been optional.

Wes Lambert, chief executive of the Australian Cafe and Restaurant Association, said only a handful of businesses in central business districts currently add automatic tips to bills, but the practice may spread as cost pressures continue. Automatic tipping is more common at venues frequented by international tourists, who view the practice as normal rather than exceptional. With international tourism now near pre-COVID levels, Lambert expects more restaurants to include tips on bills by default.

A Sydney wine bar recently abandoned its 10 per cent automatic tip after a diner's social media post triggered public backlash. University of New South Wales professor Rob Nichols said Australia's resistance to tipping stems from the expectation that hospitality workers earn at least minimum wage, unlike in the United States where tips constitute most of a server's income. Australians and tourists tip an estimated $3.5 billion annually, and tipping transactions grew 13% year over year in fiscal 2024-25.

They call it "the business-impersonator scam". And it's fooled 396,227 Americans in just the first nine months of 2025 — 18% more than the 335,785 in the same nine months of 2024. That's according to a Bloomberg reporter (who also fell for it in late November), citing the official statistics from America's Federal Trade Commission: Some pose as airline staff on social media and respond to consumer complaints. Others use texts or e-mails claiming to be an airline reporting a delayed or cancelled flight to phish for travellers' data. But the objective is always the same: to hit a stressed out, overwhelmed traveller at their most vulnerable. In my case, the scammer exploited weaknesses in Google's automated ad-screening system, so that fraudulent sponsored results rose to the top [They'd typed "United airlines agent on demand" into Google, and the top search result on their phone said United.com, had a 1-888 number next to it and said it had had 1M+ visits in past month. "It looked legit. I tapped the number..." ]

After I reported the fake "United Airlines" ad to Google, via an online form for consumers, it was taken down. But a few days later, I entered the same search terms and the identical ad featuring the same 1-888 number was back at the top of my results. I reported it again, and it was quickly removed again... A [Google] spokesperson there said the company is constantly evolving its tactics "to stay ahead of bad actors." Of the 5.1 billion ads blocked by the company last year, she said, 415 million were taken down for "scam-related violations." Google updated its ads misrepresentation policy in 2024 to include "impersonating or falsely implying affiliation with a public figure, brand or organization to entice users to provide money or information." Still, many impostor ads slip through the cracks.
"Reported losses from business-impostor scams in the United States rose 30 per cent, to US$835 million, in the first three quarters of 2025," the article points out (citing more figures from the America's Federal Trade Commision). An updated version of the article also includes a response from United Airlines. "We encourage customers to only use customer-service contact information that is listed on our website and app."

And what happened to the scammed reporter? "I called American Express and contested the charge before cancelling my credit card. I then contacted Experian, one of the three major credit bureaus, to put a fraud alert on my file. Next, I filed a complaint with the FTC and reported the fake ad to Google.

"American Express wound up resolving the dispute in my favour, but the memories of this chaotic Thanksgiving will stay with us forever. "

"On Saturday, videos shared widely on social media showed Waymo vehicles stopped mid-intersection with hazard lights flashing, forcing other cars to maneuver around them," reports the San Francisco Chronicle.

The Independent notes that "Without working traffic lights, the driverless cars were seemingly left confused, with many halting in their tracks and causing major traffic jams. Local riders and pedestrians shared photos and videos of the vehicles stuck at intersections with long lines of drivers piling up behind them..." In some instances, several Waymos were piled up in front of a single intersection. "6 Waymos parked at a broken traffic light blocking the roads. Seems like they were not trained for a power outage," another social media user wrote.
More from CNBC: San Francisco resident Matt Schoolfield said he saw at least three Waymo autonomous vehicles stopped in traffic Saturday around 9:45 p.m. local time, including one he photographed near Arguello Boulevard and Geary Street. "They were just stopping in the middle of the street," Schoolfield said.

The power outages began around 1:09 p.m. Saturday and peaked roughly two hours later, affecting about 130,000 customers, according to Pacific Gas and Electric. As of Sunday morning, about 21,000 customers remained without power, mainly in the Presidio, the Richmond District, Golden Gate Park and parts of downtown San Francisco. PG&E said the outage was caused by a fire at a substation that resulted in "significant and extensive" damage, and said it could not yet provide a precise timeline for full restoration...

Amid the disruption, Tesla CEO Elon Musk posted on X: "Tesla Robotaxis were unaffected by the SF power outage." Unlike Waymo, Tesla does not operate a driverless robotaxi service in San Francisco. Tesla's local ride-hailing service uses vehicles equipped with "FSD (Supervised)," a premium driver assistance system. The service requires a human driver behind the wheel at all times...

The Waymo pause in San Francisco indicates cities are not yet ready for highly automated vehicles to inundate their streets, said Bryan Reimer, a research scientist at the MIT Center for Transportation and co-author of "How to Make AI Useful." "Something in the design and development of this technology was missed that clearly illustrates it was not the robust solution many would like to believe it is," he said. [He recommends "human backup systems in place around highly automated systems, including robotaxis."] State and city regulators will need to consider what the maximum penetration of highly automated vehicles should be in their region, Reimer added, and AV developers should be held responsible for "chaos gridlock," just as human drivers would be held responsible for how they drive during a blackout.

Waymo did not say when its service would resume and did not specify whether collisions involving its vehicles had occurred during the blackout.

"Perhaps no group of fans, industry workers, and consumers is more intense about AI use than gamers...." writes New York magazine's "Intelligencer" column: Just this month, the latest Postal game was axed by its publisher, which was "overwhelmed with negative responses" from the "concerned Postal community" after fans spotted AI-generated material in the game's trailer. The developers of Arc Raiders were accused of using AI instead of voice actors, leading to calls for boycotts, while the developers of the Call of Duty franchise were called out for AI-generated assets that players found strewn across Black Ops 7.Games that weren't developed with generative AI are getting caught up in accusations anyway, while workers at Electronic Arts are going to the press to describe pressure from bosses to adopt AI tools. Nintendo has sworn off using generative AI, as has the company behind the Cyberpunk series. Valve, the company that operates Steam, now requires AI disclosures on listed games and surveys all submitters. Perhaps sensing the emergence of a new constituency, California congressman Ro Khanna responded in November to the Call of Duty backlash:"We need regulations that prevent companies from using AI to eliminate jobs to extract greater profits," he posted on X....

AI is often seen as a tool for managers to extract more productivity and justify layoffs. Among players, it can foster a sense that gamers are being tricked or ripped off, while also dovetailing with more general objections to generative AI. It can sometimes be hard to tell whether gamer backlash is a bellwether or an outlier, an early signal from our youngest major creative industry or a localized and unique fit of rage. The sheer number of incidents here suggests the former, which foretells bitter, messy, and confusing fights to come in entertainment beyond gaming — where, notably, technologies referred to as "AI" have previously been embraced with open arms.
And now "the price of the sort of memory PC gamers most want to buy has skyrocketed" (per Tom's Hardware). "The rush to build data centers is making it much more expensive to game. Nobody's going to be happy about that."

Insider Gaming shares another example of anti-AI sentiment in the gaming industry: The Indie Game Awards took place on December 18, and, as many could assume, Clair Obscur: Expedition 33 took home the awards for Game of the Year and Debut Game. However, things have changed and The Indie Game Awards are making a big decision to strip the Clair Obscur and developer Sandfall Interactive of their awards over the use of gen AI in the game.

In an announcement made on Saturday afternoon, Six One Indie, the creators of the show, said that it's removal comes after the discovery after voting was done, and the show was recorded. "The Indie Game Awards have a hard stance on the use of gen AI throughout the nomination process and during the ceremony itself," the statement reads. "When it was submitted for consideration, representatives of Sandfall Interactive agreed that no gen AI was used in the development of Clair Obscur: Expedition 33.
Polygon notes the award-stripping is "due to inclusion of generative AI assets at launch that were quickly patched out." Quotes from earlier in the year from Sandfall Interactive's FranÃois Meurisse made the rounds on social media last week amid a news cycle caught up in the use of generative AI in games... In June, the Spanish outlet El País published a story including an interview conducted around Clair Obscur's launch, in which Meurisse admitted that Sandfall used a minimal amount generative AI in some form during the game's development... Clair Obscur: Expedition 33 launched with what some suspected to be AI-generated textures that, as it clarified to El País, were then replaced with custom assets in a swift patch five days after release.

"If I get to do another Avatar film, it'll be because the business model still works," James Cameron tells CNN in a video interview — adding "That I can't guarantee, as I sit here today. That'll play out over the next month, really." He says theatre is a "sacred space," and while it will never go away, "I think that it could fall below a threshhold where the kinds of movies that I like to make and that I like to see... won't be sustainable, they won't be economically viable. And that can happen. We're very close to that right now."

The Wrap notes he filmed his new movie at the same time as its predecessor, The Way of Water." "We did all the performance capture in an 18-month period for both films. Then we did a lot of the virtual camera work to figure out exactly how we were going to do the live-action," Cameron explained. "Then we did all live-action together for both films. Then we split it and said, All right, now we just got to finish [movie] two....." While Cameron has been iffy about whether the previously announced fourth and fifth films will actually happen, he has already shot some of the fourth movie. "We're in a fluid scenario. Theatrical's contracting, streaming is expanding. People's habit patterns are changing. The teen demo consumes media differently than what we grew up with. And how much is it changing? Does theatrical contract to a point where it just stops right and doesn't get any smaller because we still value that, or does it continue to wither away?" Cameron said.
It's a theme he continued in his interview with The Hollywood Reporter" "This can be the last one. There's only one [unanswered question] in the story. We may find that the release of Avatar 3 proves how diminished the cinematic experience is these days, or we may find it proves the case that it's as strong as it ever was — but only for certain types of films. It's a coin toss right now. We won't know until the middle of January."

I ask something that might sound odd: What do you want to happen? But Cameron gets the implication. "That's an interesting question," he says. "I feel I'm at a bit of a crossroads. Do I want it to be a wild success — which almost compels me to continue and make two more Avatar movies? Or do I want it to fail just enough that I can justify doing somethingelse...?"

"What won't happen is, I won't go down the rabbit hole of exclusively making only Avatar for multiple years. I'm going to figure out another way that involves more collaboration. I'm not saying I'm going to step away as a director, but I'm going to pull back from being as hands-on with every tiny aspect of the process..." Cameron won't reveal his next project — and he might even be unsure himself — but will give intriguing hints. In addition to co-directing Billie Eilish's upcoming 3D concert documentary, Hit Me Hard and Soft, Cameron has another globe-trotting documentary adventure in the works, the details of which are under wraps. His next narrative film probably won't be Ghosts of Hiroshima, which has generated considerable press after Cameron acquired the rights to Charles Pellegrino's book chronicling the true story of Tsutomu Yamaguchi, who in 1945 survived the nuclear blasts at both Hiroshima and Nagasaki. Cameron promised Yamaguchi on his deathbed in 2010 that he'd makethefilm. "The postapocalypse is not going to be the fun that it is in science fiction," he says. "It's not going to have mutants and monsters and all sorts of cool stuff. It's hell...."

Cameron first portrayed the apocalypse in his 1984 debut, The Terminator, a franchise he's quietly working on revisiting. "Once the dust clears on Avatar in a couple of months, I'm going to really plunge into that," he says. "There are a lot of narrative problems to solve. The biggest is how do I stay enough ahead of what's really happening to make it science fiction?" Asked whether he's cracked the premise, Cameron replies, "I'm working on it," but his sly smile suggests that he has.... There needs to be a broader interpretation of Terminator and the idea of a time war and super intelligence. I want to do new stuff that people aren't imagining."
Maybe Cameron's best response was what he told USA Today: "Let's do another interview in a year and then I'll tell you what my plans are," Cameron, 71, says with a grin. For now, he's still catching his breath.