I acknowledge that there are already countless shows available at this stage. Every channel and streaming service is brimming with content that craves your attention, leaving us with limited hours to watch. However, I would like to suggest a new program called Space Live, which currently features just one episode. The only drawback is that the episodes seem to last indefinitely.
In truth, it’s not a program at all but rather a channel. The footage debuted on Wednesday morning and is available on ITVX, solely comprising live visuals of Earth transmitted from the International Space Station. This presentation is captivating, particularly for those unaware that one can feel both awe and boredom simultaneously.
It is claimed to be the world’s first. ITV has collaborated with the British space media firm Sen to utilize live 4K footage from their distinctive SpaceTV-1 video camera system on the International Space Station, providing three camera angles: one focused on the docking ports, a horizon view revealing sunrises and storms, and a downward camera as the ISS traverses over Earth. A tracker on the screen indicates the ISS’s real-time position, accompanied by an AI-driven information feed offering insights about geography and weather.
The Space Live footage is significantly enhanced compared to NASA footage. Photo: ITV
To be exact, one could argue that it’s not groundbreaking at all. NASA’s YouTube channel has been streaming footage from the ISS for years, attracting thousands of viewers consistently. Nevertheless, Space Live is a bit more sophisticated. The visuals are undoubtedly superior. For instance, at 8:30 a.m. Wednesday, Space Live presented stunning images of sunlight reflecting off the waters surrounding the Bay of Biscay, while NASA could only offer a piece of cloth inscribed with the word “Flap.” There’s even a relaxing soundtrack that loops repeatedly but doesn’t become overly irritating. In essence, it’s an upgrade.
And it’s truly captivating, at least during the first orbit. While we can’t wholly demonstrate the phenomenon known as the “overview effect,” which suggests that viewing Earth from space grants a fresh perspective on humanity, it is undeniably humbling to realize our planet’s smallness. The duration of the ISS’s journey from southeastern England (where I’m located) to conflict-ridden Ukraine is measured in mere seconds. Next, it would traverse across Asia to Australia. There’s hardly anything that separates us.
Inevitably, as the station glides around the Earth, eternally caught between sunrise and sunset, your thoughts drift to the people you know in various places. There’s a comforting quality to that.
However, one cannot remain in awe forever. The same goes for Space Live. Eventually, the enchantment of technology, perspective, and Earth’s beauty begins to fade, turning the experience akin to staring at a map on a plane when you’ve exhausted your movie options. Your focus starts to wander, and you realize that there are other live channels available on ITVX. One features Love Island, while others simply showcase Christmas movies. Then, with a sigh, you come to terms with the fact that the wonder of our only home, quietly revolving in the cosmos, has become just another content option—regardless of what ITV channel broadcasts American Ninja Warrior Jr.
The visuals are both breathtaking and reassuring. Photo: ITV
Nonetheless, it’s comforting to know that Space Live exists, even if it might not always capture your attention. It may not be something you’d typically expect to see on a large screen in a pub, unless a lively crowd gets excited about glimpsing the Ural River. As a background watch, though, it’s undeniably soothing. I suspect that for the select few, this channel will serve as a quiet companion as they navigate their daily routines.
And while that may not have been humanity’s initial motivation for achieving the incredible feat of breaking free from Earth’s constraints—let’s not forget that Neil Armstrong didn’t formally declare, “That’s one small step for a man, one giant leap for the screensaver industry”—the concept of Space Live is still delightful. I may not tune in all the time, but it will undoubtedly be my go-to source whenever I’m looking to reconnect with our essence and acknowledge how minimal the barriers are that divide us.
wI was just 18 when I got my hands on a Minidisc player, which had seen better days in terms of popularity. While it might not have been the most “fashionable” choice at the time, I absolutely loved it. I vaguely recall picking up packs at Poundland, building a vibrant library of affordable music before Spotify even existed.
This week, as I published articles about the MP3 players that revolutionized portable audio technology, I reflected on how they ultimately overshadowed my beloved Minidisc players. To be fair, MP3 playback is merely one of many file formats supported by modern digital audio players—perhaps a more fitting term.
For a period, I sensed that music streaming didn’t quite satisfy my needs. Yes, the ability to access an entire music library at your fingertips is a technological marvel, but it also leads to “choice paralysis” akin to being a child in a candy store. More crucially, it’s not your music.
Frustration with Algorithms
While exploring modern players for this piece, I found that I’m not alone in feeling disconnected from today’s streaming landscape. Chris Laidler, office manager at Advanced MP3 Players, provided insights into the type of individuals who opt out of the streaming norm—my kind of people.
When he began his career in 2017, his customers largely comprised a niche audiophile community, “pursuing high-resolution audio as a hobby,” he shares. These were people “more invested in technology than in music.”
However, since the onset of Covid, this clientele has expanded to include more casual buyers. For some, nostalgia plays a role, but there are also more practical motivations.
“It liberates them from the algorithm,” Laidler explains. “They seek out music on their own terms. This also means they have a device to store the music they genuinely own, rather than subscribing to Spotify.”
For true audio enthusiasts, smartphone audio simply falls short. “Consider your phone’s size,” Raidler gestures, “which features only a small DAC [digital-to-analog converter].” On the flip side, a dedicated MP3 player offers an entire setup designed for optimal music reproduction. And yes, that includes a standard wired audio jack—take note, Apple!
Generally, some acknowledge the steep entry price, even if they appreciate the concepts. For reference, my investment landed around £650, but top-tier technology can soar into the thousands. However, don’t fret! My more budget-friendly pick, the impressive Snowkey Echo Mini at £66.99, provides great value. After a certain price point, you’re more likely chasing a specific sound signature than an evident leap in quality.
The Tyranny of Choice
Ironically, as you try to make a selection, the abundance of options can mirror the overwhelming experience of scrolling through Spotify. “At audio trade shows, visitors come equipped with notebooks, taking notes on each player’s characteristics and prices,” Laidler recounts. “Yet, when you see these same individuals returning the following year, and you ask them, ‘So, which one did you choose?’—they’re still undecided.”
Should I opt for an older MP3 player? They have limitations in terms of storage, file format compatibility, and warranties. “From a nostalgia standpoint, they’re fantastic,” says Raidler.
“I enjoy showcasing these vintage players during our exhibitions and meetings because we can’t access them easily; perhaps we should even start a museum!”
This Week’s Selection
Editor’s Choice
Is it raining at the parade? It’s not about wearing the right clothes. Photo: Cicy/Getty Images/Istockphoto
You step out into glorious sunshine only to arrive at an office that resembles a death chamber. Your inexpensive emergency umbrella keeps flipping inside out. Yes, autumn weather is back with a vengeance. How do you maintain style amidst potential downpours? Fashion writer Charlotte Gornor has all the solutions for adding a layer of sophistication to any outfit, including waxed hoods and stylish caps.
Monica Hollige Associate Editor, Filter
In Case You Missed It…
A few replacements and a little hydration of your beauty routine can repair summer’s damage. Photo: Westend61/Getty Images
Let’s be real: Have you overlooked rinsing your hair every time you hit the beach this summer? Did you miss applying sunscreen to every part of your body before venturing outside? And are you hoping to prolong that summer glow? (All three apply here.)
Hayley Spencer’s guide offers remedies to heal your skin, hair, and nails after a sun-soaked summer. We’re especially fond of this drunken elephant scrub, which not only helps remove dead skin cells and debris that can clog pores, but also enhances moisture penetration, ensuring your skin remains hydrated and radiant. More glow, please!
Get Involved
What’s your secret to kicking off the day right—a cup of coffee or a breath of fresh air? Photo: Stephen Chong/Aramie
Whether you’re an early bird or a night owl, what’s your secret to enhancing your mornings? Waking up to a radio alarm instead of your phone? An amazing cup of coffee? Some gentle stretches? Or perhaps an eye mask that grants you an extra 30 minutes of sleep? Share your thoughts by replying to this newsletter or email thefilter@theguardian.com.
The tragic demise of a man in France, which was live-streamed on the online platform Kick, has prompted a police investigation. Authorities are urging regulators to examine the events of the broadcast and the implications of live streaming on the internet. What is Kick, what transpired, and what are the next steps?
What Happened?
Rafael Graven, 46, from southern France, was known online as Jean Pawmanbe.
This week, he tragically passed away during an extended live stream on the platform. Reports suggest that, prior to his death, he was subjected to physical assaults and humiliation by his associates. A disturbing excerpt from the stream viewed by the Guardian indicates that Graven was struck, humiliated, strangled, and shot with a paintball gun.
His channel has since been removed, and the involved parties are banned pending the investigation by Kick.
One of the collaborators informed local media that Graven had pre-existing cardiovascular issues and claimed, “the scene was just staged and followed a script.”
An autopsy has been ordered, and a police investigation is underway regarding Graven’s death.
What is Kick?
Kick is a live streaming platform akin to Twitch, where users often watch gaming sessions and various live activities.
Founded in Melbourne in 2022 by billionaires Ed Craven and Bijan Tehrani, Craven previously established Stake.com, the world’s largest cryptocurrency casino. Kick expanded its user base by attracting Twitch streamers who supported Stake before Twitch’s ban on gambling advertisements.
Kick claims that content creators retain 95% of their streaming revenue.
The platform is known for a more lenient approach to content moderation compared to Twitch, although it does have community guidelines prohibiting “content that depicts or incites heinous violence, including serious harm, suffering, and death.”
Additionally, Kick asserts that it will not allow content featuring severe self-harm.
Earlier this year, the company announced new rules permitting gambling streams only from verified sites to protect minors from such content.
Why Wasn’t the Channel Banned?
A spokesperson for Kick did not provide an explanation as to why the Jean Pawmanbe channel remained active before Graven’s death.
“We are urgently reviewing the situation, engaging with relevant stakeholders, and investigating the matter,” the spokesperson stated. “Kick’s Community Guidelines are established to protect creators, and we are committed to maintaining these standards across the platform.”
What Did Kick Say About the Death?
The company expressed its support for the ongoing investigation and shared its grief over Graven’s passing.
“We are deeply saddened by the loss of Jean Pawmanbe and extend our sincere condolences to his family, friends, and community.”
Will Kick Face Any Repercussions?
In France, Clara Chappaz, Deputy Minister of AI and Digital Technology, characterized the incident as “absolutely horrifying,” announcing an ongoing judicial investigation. The matter has been escalated to the French portal for reporting internet content concerns, as well as the digital regulator ARCOM.
Being an Australian company, Kick could also face local scrutiny.
A spokesperson for the Esafety Commissioner referred to the case as “tragic,” emphasizing that it highlights the potentially devastating real-world consequences of extreme content creation.
The spokesperson remarked, “Platforms like Kick must do more to enforce their terms and conditions to minimize harmful content and behavior during streams, ensuring protection for all users.”
Given Kick’s chat features, there may be implications for the Australian government’s planned social media age restrictions for users under 16, starting in December.
Furthermore, new industry codes and standards now require Kick and similar platforms to have systems to shield Australians from inappropriate content, including depictions of crime and violence without justification.
“This encompasses mandates to uphold terms and conditions that prohibit such material and to address user reports swiftly and appropriately,” the spokesperson added. “ESAFETY may seek penalties of up to $49.5 million for compliance violations if warranted.”
Additional codes are under consideration to specifically target children’s exposure to violent content.
wI recently planned a trip to Florence, and all I can think about is re-watching Medici. This historical drama from 2016 chronicles the rise of the influential Florentine dynasty during the Renaissance. Until just a few years ago, accessing Netflix granted me a treasure trove of both acclaimed and obscure titles. Yet now, if you search for the show in 2025, Netflix links lead to empty pages. It won’t show up on HBO Max, Disney+, Apple TV+, or smaller platforms either. Amazon Prime requires a separate purchase for each of the three seasons or 24 episodes. These episodes are stored in a library that could be deleted overnight. For the first time in a decade, I find myself nostalgic for the days when I relied on the Swedish Torrent Index, a land of digital piracy, and I know I’m not alone.
During my teenage years in the 2000s, torrents were my go-to. Need the latest Coldplay album for your iPod? Pirate Bay. Looking for the 1968 adaptation of Romeo and Juliet? Pirate Bay. Everything I wanted was just a few clicks away. But as smartphones gained popularity, so did Spotify, the Swedish music streaming service. Interestingly, the same country that hosted illegal torrents also presented a solution.
“Spotify wouldn’t exist without the Pirate Bay,” remarked Sundin, the managing director of Universal Music Wedden at the time, reflecting in 2011. Yet, while I could legally enjoy the music, I once engaged with torrents. When Netflix arrived in Sweden in late 2012, conversations around torrenting films faded. A vast array of large shows and award-winning films was suddenly available for just 79 SEK (£6) per month. Meanwhile, the three founders of Pirate Bay faced arrest and imprisonment. To me, piracy seemed a thing of the past.
Fast forward ten and a half years since the Pirate Bay Trial, and the winds have shifted. On a surprisingly warm summer day, I found myself with fellow film critics in the Old Town Port—a location rich with smuggling lore—discussing the “enshitification” of streaming. This term describes how platforms deteriorate as they prioritize profits over service quality. Netflix’s monthly rate soared to over 199 SEK (£15), and accessing the same shows previously found in one place now often necessitates multiple subscriptions. Nowadays, many streaming services force users into ad-supported plans despite their fees. Local restrictions may even compel users to employ a VPN to unlock the full range of available content. On average, European households now spend nearly 700 euros (£600) annually on three or more VOD subscriptions—receiving less for more.
One film critic shared anonymously, “I never stopped pirating; if I’m unable to find what I’m looking for on DVD, my partner will too.” While some have never shied away from copyright infringement, others have admitted to recently returning to it. This time, the focus is on unofficial streaming platforms. One prevalent app is legal, yet users can access illegal streams through accompanying community add-ons. “Downloading is overly complicated; I wouldn’t even know where to begin,” remarked one viewer. “The shadowy streams might bombard me with ads, but at least I don’t have to worry about being hacked or caught.”
Navigating the vast seas… The Pirate Bay is a file-sharing site based in Sweden. Photo: FocusDigital/Alamy
Unlicensed streaming remains a significant source of copyright infringement in TV and film, as reported by Muso, a London-based copyright infringement company. In 2023, it accounted for 96%. Copyright infringement figures remained low in 2020, with 130 billion website visits but soared to 21.6 billion by 2024. In Sweden, 25% of respondents reported pirated content in 2024, a trend primarily observed among those aged 15 to 24. Copyright infringement has resurfaced, albeit under a new guise.
“Piracy isn’t merely about pricing,” stated Gabe Newell, co-founder of Valve, the driving force behind Steam, the largest PC gaming platform. He noted in 2011, “It’s fundamentally a service issue.” Nowadays, the streaming crisis underscores this reality. Content is fragmented, prices escalate, and bitrate restrictions vary by browser. It’s no surprise that viewers are once again gravitating towards more accessible options. Studios impose territorial limitations and impose tolls for access, resulting in an artificial scarcity in a digital age that promised abundance.
Rebellion or resignation may seem irrelevant. The sails can either be raised or lowered as streaming platforms fragment into isolated territories. Increasingly, viewers are journeying back to the digital high seas. Medici comprehended the value intrinsic to access. Clients traveled from as far as Rome to London, maintaining relationships through a system based on trust and integration. If current studios aspire to weather the storm, they must rediscover this vital truth.
The music industry is currently facing a struggle, particularly regarding the operations of streaming services, with unsuspecting indie artists caught in the crossfire.
Streaming platforms like Spotify and Apple Music are inundated with AI-generated tracks, which are cheap and easy to produce. In April, Deather estimated that 20,000 fully AI-created tracks—making up 18% of new releases—were being consumed daily, nearly double the number from January. Scammers often employ bots, AI, or even humans to loop these fake songs repeatedly to generate revenue, while some exploit upload services to place counterfeit songs on legitimate artist pages, siphoning off royalties.
Spotify has begun penalizing the most egregious offenders, with the statement that it is utilizing “significant engineering resources and investigations into the detection, mitigation, and removal of artificial streaming activities.” Meanwhile, Apple Music contends that “less than 1% of all streams are manipulated.” While this might sound reassuring, the global streaming business generated $20.4 billion (according to IFPI), indicating that hundreds of millions of dollars could be lost annually to fraudulent operators.
One significant issue arises from the drastically lowered entry barriers for musicians; uploading a song to streaming platforms is now much simpler than producing CDs and vinyl. However, this ease has similarly afforded fraudsters an easier path. Though the industry has declared war on this manipulation, the automatic detection systems can mistakenly flag innocent artists, leading to their music being taken down.
Spotify’s headquarters in New York. Photo: John Nacion Imaging/Shutterstock
Darren Owen, COO of music streaming service Fuga, identified a “surge in streaming scams” spreading throughout the industry since around 2021.
Utilizing AI and machine learning, FUGA assigns a “severity score” to streaming patterns and distinguishes “nonhuman listening habits” to uncover fraudulent activities. “I wouldn’t listen to the same song on different devices at once,” Owen states. Countries like India, Vietnam, Thailand, and certain areas in Eastern Europe have been flagged as hotspots for click-farm operations utilizing low-wage labor. “It’s also been revealed that organized crime is involved,” he adds.
It’s not just platforms like Germany’s Pimpyourfollower.de, which was taken down following a court order. Similar services in Canada and Brazil are also facing scrutiny from record industry trade organizations for inflating streaming numbers artificially. Universal Music Group (UMG), the world’s largest record label, has allegedly conspired to boost play counts for Kendrick Lamar’s diss track “None Like Us.”
The Guardian has spoken with several artists who find themselves in the firing line of this manipulation war.
Darren Hemmings, managing director and musician at the music marketing company Motive Unknown, reported that a recent EP saw a track’s plays spike over 1,000—an indication of manipulation. “I don’t blame them for concluding that,” he says, but adds, “it’s very much like being judged, tried, and executed all at once.” He insists he did not manipulate his streams but couldn’t identify the cause aside from climbing popularity among real listeners.
The Northern Irish rock band Final 13 experienced their music being removed from streaming services due to a sudden spike of tens of thousands of plays. They believe this surge resulted from airplay on Radio 1, yet concluded their distributors were caught up in automated manipulation. “It’s really tough for any artist to prove they didn’t [manipulate streams], but it’s even more challenging for Spotify to justify what they did,” remarks their drummer, Doubes. “[They] take it down, and that’s the end of it.”
Matthew Whiteside at night… Photo: Julie Houden
Indie artist Adam J. Morgan, known as Naked Burner, earned over 10,000 streams in a week, likely due to his music being featured in TikTok videos, but was flagged as suspicious by distributor Routenote. “I hadn’t done anything wrong, and they offered no evidence,” he states, suspecting that it was simply due to an overly sensitive algorithm. “I spent the weekend trying to understand the problem, but Spotify informed me that my music wasn’t flagged at all.” Routenote did not respond to a request for comment.
Such takedowns can disrupt musicians, hinder marketing efforts, and ultimately affect earnings. Matthew Whiteside, who heads TNW Music Label, has faced claims of artificial streaming for three different albums. He noted that TNW Music tracks had been included in a controlled playlist. “It didn’t make sense based on genre. My distributor said I could resubmit the album for $40 each time, but that’s not feasible without assurance of success.”
“Streaming generally favors smaller acts and niche genres,” he observes. “I’d be thrilled to get 1,000 streams a month with an album.” Consequently, paying to re-upload an album can be beyond the release budget.
Deezer claims to be leading the way in implementing fraud detection mechanisms. “We monitor various metrics to help our algorithms determine user authenticity,” says Thibault Roucou, reporting director at the company’s royalties department. “When we initiate a takedown, we manually review the situation to ensure it’s a serious issue.”
Regrettably, many systems that execute takedowns often presume guilt, and the appeal processes can be so complicated that many small acts, already struggling, simply give up. Levina, who represented Germany in the Eurovision Song Contest in 2017, experienced her music being removed from streaming platforms without any warning. “Appealing against them is nearly impossible,” she sighs.
Levina is the chairman of the Artist Council in the Association of High-profile Artists. Photo: Sam Rockman
She is also the chair of the Artists Council within the Feature Artists Coalition, working to establish “minimum standards for what distributors should provide.” She suggests implementing a traffic light warning system, allowing artists the opportunity to present their defense or rectify issues.
Streaming platforms and distributors assert that the focus is on containment rather than complete removal. However, Owen notes that the current issue isn’t solely about scammers perpetrating large-scale manipulations but involves subtle adjustments to numerous tracks to avoid detection.
For Hemmings, this situation could result in a two-tier streaming landscape where smaller acts abandon mainstream platforms. “This might lead to the conclusion that focusing on alternative revenue streams is a wiser choice for many within the independent music community.”
wRecently, many people compared their Spotify listening stats for artists like Sabrina Carpenter, Charli XCX, and Fontaines DC during December’s wrap-up. It may sound odd in today’s digital era, but I decided to stop streaming music entirely. Instead, I returned to buying CDs, which reignited my passion for music.
Now, I find myself immersed in music around the clock. I can’t focus on work without it, nor can I wash the dishes without some tunes in the background. I usually purchase albums in CD or vinyl format and play them repeatedly until I grow tired of them—an admittedly annoying habit. Back when I was a student, one brave housemate would blast music throughout the apartment, flooding my room with city hymns while he drained CDs and even leaped out the window.
The arrival of Napster, file sharing, and eventually Spotify felt like a stroke of luck to me. I quickly ditched my expensive CD collection for a digital platform that could play any song available. I began exploring new albums from familiar artists as well as those in the vast universe of music. However, laziness soon set in. As Spotify got to know my taste, its recommendations became increasingly obscure. Before I realized what was happening, Spotify was suggesting songs from the latest Gorillaz album or outlandish jazz-folk tracks I didn’t ask for, yet I was always too bored to skip them. Listening felt akin to conversing with a music snob who thought they knew better than I did.
Recaptures his youth… Perry is rich at home. Photo: Martin Godwin/Guardian
Recently, with the rising costs of Spotify subscriptions, I decided to cancel and go back to purchasing CDs. Now, I read reviews in NME and The Guardian, using Shazam to identify songs I enjoy, such as those from the T2 Trainspotting soundtrack and tracks by Wolf Alice. Rather than random Spotify suggestions, I’m rediscovering my music taste freely. Sure, this route might keep Jeff Bezos smiling, but nothing compares to the joy of holding tangible music in my hands. Appreciating the album art and examining the inner sleeves make every penny spent worthwhile.
Plus, I no longer share a space with noisy college roommates, allowing me to listen to my favorite albums on repeat. My current favorites include Drives to the Golden Hammer due to divorce, among others. As I prepare for their live performances, I’m also delighting in a nostalgic return to Oasis. I couldn’t be happier, even if my shelves are nearing their weight limit with the growing CD collection.
The new Sky Glass Smart TV version brings all-in-one functionality, making Pay TV quicker, clearer, and free from satellite use, proving to be one of the top models available compared to its predecessors.
The Sky Glass Gen 2 serves as the direct successor to the initial 2021 model, which introduced Sky’s broadband-based TV service, eliminating the need for satellite dishes. Available in three sizes, the smallest being 43 inches, it can be purchased with a one-time payment over four years, after which you fully own it.
Starting at £15 per month for Sky Essential TV Packs, a Sky subscription is necessary for full access. While you can’t use the TV without a subscription, should you decide to cancel in the future, it functions as a basic smart TV with access to streaming apps like BBC iPlayer, equipped with a basic aerial and multiple HDMI inputs.
The Gen 2 is available in three colors, complete with a matching remote control. Photo: Sky UK
From the front, the Gen 2 closely resembles its predecessor, featuring a sleek, monolithic design with an aluminum body, a slim bezel, and a soundbar cleverly concealed behind a mesh that matches the bottom colors. The voice-activated microphone responds to “Hello Sky.” Although the Glass Gen 2 is thinner and lighter than the previous model, it remains on the heavier side compared to newer models. The 43-inch version weighs 14.7kg, while the larger 55-inch and 65-inch variants necessitate the assistance of two people for safe handling.
The newly designed stand simplifies setup, even for the tested 65-inch model, as the TV easily slots into two prongs and requires a stable mount secured with screws and tools. For internet connectivity, a power cable and WiFi or Ethernet connection are essential. Wall brackets are sold separately.
The TV detects movement and powers on/off as needed, displaying full-screen recommendations for the latest shows and movies. Photo: Samuel Gibbs/The Guardian
The vibrant 4K LCD display is notably brighter than the previous version, with improved black depths and significantly reduced halo effects. The screen’s automatic brightness adjustments can make content look overly dark in rooms that aren’t brightly lit, but turning this feature off enhances viewing.
Sky has included an automatic image optimization mode that detects content types such as entertainment, sports, and movies. Additionally, modes like manual, vibrant, and film are available for those who prefer more intense colors. The entertainment mode can make skin tones appear overly warm, while I found the film mode to be more balanced, also offering a custom mode for personalized adjustments.
The screen’s capabilities shine when displaying HDR content, be it films, shows, or sports. The Premier League looks crisp and lively, while titles like Mad Max: Fury Road in Dolby Vision are particularly impressive. However, this TV isn’t the most suitable option for gaming on consoles like the Xbox or PS5, as it lacks variable refresh rates up to 120Hz, which are advantageous for console games.
Impressive Sound and Clarity
The speakers are positioned on the grill at the top and the fabric strip at the bottom of the screen. Photo: Samuel Gibbs/The Guardian
A significant benefit of Sky Glass over conventional TVs is the built-in speaker soundbar. Vocals maintain clarity at nearly all volumes, sidestepping the common lip-sync issues found with external soundbars. Even without an additional subwoofer or rear speakers, it impressively delivers substantial sound.
However, it struggles to produce deep, rich bass, and while the sound has impressive width, virtual surround effects are limited, necessitating more complex systems with additional speakers to achieve this.
The TV also features night mode, audio enhancement, and bass boost settings. The night mode is especially handy for lowering loud sounds while ensuring dialogue remains comprehensible, making it ideal for late-night screenings without disturbing others.
Enhanced Sky Over Broadband
To stream HD, a minimum of 25Mbps is required; for UHD broadcasts, 30Mbps is necessary, but Sky’s broadband service does not need to operate at these levels. Photo: Samuel Gibbs/The Guardian
Since the original Glass launched in 2021, the robustness of the Sky OS service has greatly improved. It still offers excellent search capabilities and advanced playlist features, alongside multiple user profiles that allow each family member to maintain their own lists and recommendations, including children’s profiles.
The playlist feature automatically tracks new episodes from shows or movies you are interested in, directing you to a “Continue Watching” section, making it easy to return to the content you’ve already begun.
Features like live TV, pause, and rewind function seamlessly. Recent reductions in broadcast delays greatly enhance the experience, ensuring thrilling moments aren’t missed for friends relying on satellite or aerial feeds.
On-demand content from the Sky Platform works effectively, and third-party services like BBC iPlayer, ITV X, and Channel 4 have seen significant enhancements compared to previous reliance on recordings. While not quite as seamless and speedy as local recordings on Sky Q and similar PVRs, most apps launch quickly, perform well, and lead directly to the desired episode from your playlist or search result.
It supports most leading on-demand services, including My5, YouTube, Prime Video, Disney+, Paramount+, Apple TV+, Discovery+, and others, allowing for all content to be easily accessed in one location.
Voice control is operational via remote buttons, though the TV’s voice activation is somewhat unpredictable, comprehending commands about 60% of the time. Photo: Samuel Gibbs/The Guardian
Sustainability
The TV is designed for repair, featuring 22% recycled materials, such as aluminum, fabric, tin, and plastic. The manufacturer also recycles old devices and packages the TV using plastic-free materials.
Pricing
The price for Sky Glass Gen 2 is £699 for the 43-inch model, £949 for the 55-inch model, and £1,199 for the 65-inch model, with no-interest payment plans available for either 24 or 48 months for all models.
The 24-month plans for Sky Essential TV start at £15 monthly; Sky Ultimate TV begins at £22 per month; UHD with Dolby Atmos costs an additional £6, along with options to skip ads. Other available add-ons include Sky Sports starting from £31 monthly, TNT Sports from £31, Sky Cinema from £13, and Sky Kids at £8. Discounts are possible with certain combinations, although pricing varies for different packages every 31 days.
Conclusion
While the first generation of Glass needed refinement, the Gen 2 addresses many of its shortcomings effectively.
It offers a brighter, faster display with higher contrast and impressive handling. Additionally, it boasts the best sound quality among available TVs. It remains competitive in the mid-range market, although aesthetically pleasing screens can be found at similar price points without a soundbar. For those in search of the absolute finest display, alternatives are available.
The Sky OS service has advanced significantly to reach performance levels comparable to the leading competitors in the sector. Live broadcasts work smoothly, whether from satellite or cable. Sky’s on-demand offerings are just as effective as local recordings, while third-party apps like BBC iPlayer and ITVX have reached acceptable performances. Featuring robust search and playlist capabilities that support all major streaming services makes content discovery effortless.
Ultimately, the convenience of the Glass Gen 2, providing an all-in-one solution with solid sound and a unified remote for all TV functions, is a major draw.
Pros: All-in-one streaming and pay TV device, remarkable sound quality, no need for satellite or cable, excellent remote control functionality, robust search and playlist features, improved apps, enhanced display with excellent HDR, customizable image modes, and integrated voice control.
Cons: Image quality not as strong as some competitors, certain image modes need improvement, auto brightness settings can be bothersome, gaming consoles lack faster refresh rates, heavier and bulkier design, no Chromecast support, and some third-party on-demand services remain subpar.
The Power and Microphone Mute buttons are conveniently positioned on the right side of the TV. Photo: Samuel Gibbs/The Guardian
Meta is enhancing safety measures for teenagers on Instagram by implementing a LiveStreaming block, as social media companies extend their under-18 safety measures to Facebook and messenger platforms.
Individuals under the age of 16 will now be restricted from using the live Instagram feature unless they have parental authorization. Additionally, parental permission is required to disable the ability to obscure images containing suspected nudity in direct messages.
These changes come alongside the expansion of Instagram’s teen account system to Facebook and Messenger. Teen accounts, introduced last year, are automatically set for users under 18, with features like daily time limits set by parents, restrictions on usage at specific times, and monitoring of message exchanges.
Facebook and Messenger teen accounts will initially launch in the US, UK, Australia, and Canada. Similar to Instagram accounts, users under 16 must have parental permission to adjust settings, while 16 and 17-year-olds can make changes independently.
Meta disclosed that Instagram teen accounts have fewer than 54 million users globally, with over 90% of 13-15-year-olds adhering to default limits.
These announcements coincide with the UK enforcing online safety laws. Since March, websites and apps covered by the law must take steps to prevent or remove illegal content like child sexual abuse, fraud, terrorist material, etc.
The Act also includes provisions to shield minors from harmful content related to suicide or self-harm, requiring protection for those under 18. Recent reports suggest the law may be softened as part of a UK-US trade deal, sparking backlash from critics.
At the launch of Instagram restrictions, Nick Clegg, then Meta’s President of Global Affairs, highlighted the goal of shifting the balance in favor of parental controls. These developments follow Clegg’s recent remarks on the lack of parental use of child safety features.
TikTok has been aware for a long time that its video livestream feature was being misused to harm children, as revealed in a lawsuit filed by the state of Utah against the social media company. The harms include child sexual exploitation and what Utah describes as an “open door policy that allows predators and criminals to exploit users.”
The state’s attorney general stated that TikTok conducted an internal investigation in which adults allegedly used the TikTok Live feature to engage in provocative behavior with teenagers. It was found that some of them were paid for this. Another internal investigation found that criminals used TikTok Live to launder money, sell drugs, and fund terrorist groups.
Utah was the first to file a lawsuit against TikTok last June, alleging that the company was profiting from child exploitation. The lawsuit was based on internal documents obtained through subpoenas from TikTok. On Friday, an unredacted version of the lawsuit was released by the Utah Attorney General’s Office, despite TikTok’s efforts to keep the information confidential.
“Online exploitation of minors is on the rise, leading to tragic consequences such as depression, isolation, suicide, addiction, and human trafficking,” said Utah Attorney General Sean Reyes in a statement on Friday. He criticized TikTok for knowingly putting minors at risk for profit.
A spokesperson for TikTok responded to the Utah lawsuit by stating that the company has taken proactive steps to address safety concerns. The spokesperson mentioned that users must be 18 or older to use the Live feature and that TikTok provides safety tools for users.
The lawsuit against TikTok is part of a trend of U.S. attorney generals filing lawsuits over child exploitation on various apps. In December 2023, New Mexico sued Meta for similar reasons. Other states have also filed lawsuits against TikTok over similar allegations.
Following a report by Forbes in 2022, TikTok launched an internal investigation called Project Meramec to look into teens making money from TikTok Lives. The investigation found that underage users were engaging in inappropriate behavior for digital currency.
The complaint also mentions that TikTok captures a share of digital gifts from live streams, with lawmakers arguing that the algorithm encourages streams with sexual content as they are more profitable. Another internal investigation called Project Jupiter looked into organized crime using Live for money laundering purposes.
Michael Mac Liamoir’s 1960 solo show intertwined the private and public life of Oscar Wilde with excerpts from the great Irish wit’s work. Alastair Whatley, who directed The Importance of Being Earnest a few years ago, recently performed Mac Liamoir’s monologues in reading repertory. A recording of the production, directed by Michael Fentiman, is available from the original online. From July 1st.
How did we get here?
Melanie C, of the Spice Girls, has always shied away from contemporary dance: “I found it scary,” she said last year on the eve of a show at Sadler’s Wells with Jules Cunningham and Harry Alexander. But of the contemplative work the trio have devised, she urged, “Look at it with an open mind, it will make you think.” Free to watch until July 25th.
Shakes Against the Machine
In the run up to the July 4th general election, Rob Miles and the Chronic Insanity troupe Web Series combined news headlines from the last 14 years of Conservative governments with Shakespeare’s speeches to show that “the challenges we face are on the same tragic scale as some of his darkest plays”.
Bonnie and Clyde: The Musical
In a sign of continuing tough times for the theatre world, a tour of the Depression-era musical about a robbery was recently cancelled due to poor ticket sales, but a version filmed at the Theatre Royal Drury Lane starring Jeremy Jordan and Frances Maeli McCann is currently running. on demand.
Schwartz’s Song
This album is a collection of 16 carefully selected tracks from the band’s back catalogue spanning half a century, all newly recorded. Introduction to Stephen Schwartz There are three numbers from Godspell, Pippin’s Empty Horn, and The Baker’s Wife’s Meadowlark (due for a revival in 2008). Menier Chocolate Factory) and Defying Gravity will be sung by the four Elphabas from Wicked: Kerry Ellis, Rachel Tucker, Lucie Jones and Alice Fearn.
Hamlet at Elsinore
How about a location-specific play? In 1964, the BBC broadcast a film of Hamlet, shot entirely on location. Kronborg Castle It was produced in Denmark and starred Christopher Plummer as the Tragic Prince, Michael Caine as Horatio, Steven Berkoff as Fortinbras, Lindsay Kemp, and the late Donald Sutherland. On iPlayer.
Starlight Express
Andrew Lloyd Webber’s Starlight Express in London Bard – is the perfect introduction to musicals for children. Yotois an audio platform where you play “cards” using a cheerfully designed cube machine. Starlight Song card released from 1984 (each of which displays colorful graphics on the machine’s screen), with story explanations interspersed between them.
Dub
French-Senegalese choreographer and former hip-hop dancer Amara Dianore’s show is an explosive hour that explores urban dance styles from around the world. Competitive, collaborative and engaging, the free-flowing show will tour Europe this summer but has already Arte and YoutubeThe photo was taken at the Maison de la Culture in Grenoble.
Until the stars come down
Nottingham playwright Beth Steele is going from strength to strength. Following the huge success of House of Shade at the Almeida, this wedding play delighted audiences at the National’s Dorfman Theatre earlier this year. Directed by Bijan Shaybani, NT Home.
Through the cracks
Created by the Office of Everyone and English Touring Theatre, the app uses augmented reality to peel back the floorboards and see the drama unfold beneath your feet, with each story revolving around a character who, in some way, has disappeared through the cracks. In timeis a queer romance written by Sonali Bhattacharya, narrated by Ian McKellan, and starring the always-stellar Sophie Melville. Available Now.
TThere's a reason why many websites devote huge virtual pages to the question of whether and when a new movie is on Netflix. For many casual viewers, the biggest streaming sites are almost synonymous with streaming itself, with even big brands like Disney+, no longer HBO Max, Peacock, and Paramount+ essentially battling for second place. But at some point, you might have to admit that this is, at best, a battle for third place: last month, all of the aforementioned glitzy non-Netflix services lost out to Tubi in viewership numbers.
While premium streaming services like Netflix and Prime Video are experimenting with ad-supported versions to boost revenue (either by lowering the price of their ad-supported subscriptions, hoping that customers will pay more to avoid the ads, or by making revenue from the ads themselves), Tubi offers a rotating lineup of ad-supported movies and TV shows at an unbeatable price. It's a free service that doesn't even require you to sign in (I know this firsthand: I've been a regular Tubi user for years, but I've yet to create an actual account). Tubi combines the thrilling browsing experience of an old-school video store, the instant gratification of Netflix, and the old-school channel flipping of cable (when everyone embraced the built-in ad breaks that came with watching a movie). Apparently, viewers don't mind a little retro in their streaming experience. Tubi is still growing viewership and ad revenue; in the most recent quarter, the latter increased by 22% (the CEO says the service is growing viewership and ad revenue by 22%). There is no profit yetBut growth in such a competitive and fickle industry is still remarkable.
Even before those numbers were released, Tubi was no longer a timid upstart. The part of the media conglomerate that wasn't sold to Disney, Fox Corporation, which owns the various Fox-branded TV stations, acquired the service in 2020. But its basic approach seems to be much the same: offering viewers a wide range of ad-supported choices (even shows that might have been offered recently or at the same time on other, more premium streaming services) without pumping too much money into flagship originals aimed at subscribers. Tubi's original programming is indeed plentiful, but it also has a retro feel, more in keeping with what you'd expect from cable or direct-to-video exploitation movies of the '90s or early 2000s than, say, HBO. The company has begun experimenting with star-studded, high-profile originals, such as a new series starring TV mainstay Lauren Graham, but they're unlikely to outweigh the appeal of a virtual video store.
In fact, a secret weapon that sometimes goes unmentioned when describing Tubi's rise is the fact that it has a ton of movies older than 30 years ago, which is relatively uncommon for many paid streaming services. At the moment, Netflix has about two dozen movies from before 1990, which is up from the last few months thanks to a recent anniversary effort that promoted movies from 1974 and 1984 together. Max does a little better on average because it owns Turner Classic Movies, but it doesn't have the depth or variety of actual TCM (or a good streaming app that's exclusive to cable TV subscribers). For other services, it's easy to find what's on offer by searching for genres that are less common today, like westerns or musicals. For example, Peacock has one musical from before 1990. Tubi's choices in this department include the original West Side Story, Seven Brides, The Royal Wedding, The Pajama Game, The Jazz Singer, Fiddler on the Roof, Yentl, The Music Man, and High Society. Of course, it won't tell you everything you need to know about the genre, but it's a better start than what more expensive services offer.
That makes Tubi seem like an option for older people who want to complement their MeTV viewing and take a peek into the past. But the company says Tubi has the youngest average age of TV viewers, at 39. The “TV” moniker probably rules out TikTok and YouTube, which are attractive to the youngest media consumers, but Tubi CEO Anjali Sood said: Recent Interviews The company is eyeing a younger audience and sees itself competing with major alternatives to traditional movies and TV, rather than as a future version of cable channels with particularly rich content.
YouTube’s reach (and creators’ endless supply of attractive, algorithmically refined thumbnails) will likely be hard to beat, but for now at least, the two services are impressive contenders. While YouTube lets you rent movies and shows, the platform owes its explosive growth to its original content and creators, who aren’t always immersed in anything more than other YouTube videos and the fickle whims of the algorithms that serve them. This material can combine in many ways: sketch comedy, talk shows, reality TV, visual essays, animated shorts, and more, but much of it has its own parameters and genres, and to outsiders it often seems untethered from history. Tubi, on the other hand, can offer a surprisingly decent crash course in classic movies, if you’re willing to endure a few ad breaks (again, most of us who grew up on cable TV in the ’80s, ’90s, and ’00s were). Even in months when a particular “classics” section is on the wane (or when a particular public domain title's transition is less than optimal), there's an eclecticism that stretches beyond the very recent past and can actually satisfy your curiosity on a tight budget. If streaming is rotting our brains and keeping us indoors, maybe streaming can offer at least a little breadth.
Maybe it's a middle-aged fantasy. The culture would return to a richer sense of history that actually makes entertainment from different eras more enjoyable to connect. But now the brand that streaming stands for is hostile to theatrical releases, funding writer-driven projects, and churning out shows that are increasingly removed from the craft of TV production. Netflix has inadvertently created a new, worse kind of monoculture, one where choice is scarce and binge-watching is encouraged, insatiable and unsatisfying. Imagine a future where you lounge on Tubi instead.
Using new 21 cm radio observations made with NSF's Green Bank Telescope, astronomers have discovered that more than 250 clouds of neutral gas are blasting out into interstellar space from the center of the Milky Way. These clouds are likely the product of the same phenomenon that created the Fermi bubble.
The artist's concept is that clouds flowing from the center of the Milky Way are caught up in extremely hot winds and accelerated to speeds of hundreds of kilometers per second. Image credit: NSF/GBO/P. Vosteen.
It has long been known that energetic processes at the center of the Milky Way generate high-velocity hot winds that spread through intergalactic space with temperatures of millions of degrees and speeds of thousands of kilometers per second. Most large galaxies have winds like this.
The serendipitous discovery that some of this hot gas is trapped in cold hydrogen clouds was made by Australia's ATCA telescope, which measured 21cm radio emissions from interstellar hydrogen atoms.
This suggests that there may be an undiscovered population of clouds transporting material away from the Milky Way's core.
Hydrogen clouds are important in their own right, but they also act as probes for hot air.
Conditions in very hot winds are difficult to measure, but just as a few leaves thrown up on Earth indicate the direction and speed of the wind in the area, cold clouds can You can track its status.
The sensitivity of the Green Bank Telescope (GBT) makes it an ideal instrument for detecting faint signals from interstellar hydrogen, but mapping these clouds and understanding their true extent is essential. It wasn't easy.
Dr Felix James 'Jay' Rockman, senior astronomer at Green Bank Observatory, said: 'It took many years to systematically map hundreds of square degrees using GBT in search of weak hydrogen emissions. ” he said.
“Once we identify a few promising candidates, we can follow up with targeted observations with other telescopes to show us even more.”
“This cloud must have been ripped off from a region near the center of the Milky Way galaxy and flung outward by a burst of star formation or black hole activity.”
Some of these clouds have the fastest outflow velocities of any cloud ever observed in the Milky Way, and may even escape from the Milky Way.
In an unexpected development, new data from the APEX telescope reveals that some hydrogen clouds contain molecules and dense cold gas.
“No one would have expected that the clouds violently ejected from the Milky Way would harbor relatively fragile molecular material, but that's what happened,” Rockman said.
Astronomers using the MeerKAT array recently mapped hydrogen in several clouds with high angular resolution, showing that it evolves and gets shredded as it flows into interstellar space.
“These new results open the door to further discoveries,” Dr. Rockman said.
“How clouds that are accelerated to speeds of more than 400 kilometers per second remain stable is a mystery.”
“The chemical processes inside these clouds are very unusual and unexplored.”
Dr. Rockman and his colleague Dr. Enrico Di Teodoro of the University of Florence, findings in AAS243243rd Meeting of the American Astronomical Society, New Orleans, Louisiana, USA.
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Felix Rockman and Enrico di Teodoro. 2024. New investigation of neutral clouds in the Milky Way's core wind. AAS243Abstract #2851
Apple faces a €500m (£427m) fine for unfairly influencing competitors in the music streaming market, according to the Financial Times. The European Commission, the EU’s executive arm, will impose the penalty following an extensive investigation.
Why is Apple facing the prospect of fines?
After Spotify filed complaints in 2019, the EU began examining Apple’s position in the music streaming app market. The focus was narrowed down to specific restrictions placed by Apple on app developers, preventing them from informing iPhone and iPad users about more affordable music subscriptions outside of the App Store. Spotify claims this favors Apple Music, the company’s rival app.
This case is the latest in a series of legal disputes involving Apple’s App Store, which has been criticized by the companies utilizing it for its rules and charges. Apple recently announced that it would allow EU customers to download apps without going through its own store, a concession made under pressure from the EU’s Digital Markets Act (DMA).
What does the EU think about Apple’s actions?
The EU did not comment directly, but when Apple issued a new statement of objection in February of the previous year, it suggested that the company would be penalized for unfair trading conditions violating Article 102 of the Treaty on the Functioning of the European Union. The Commission expressed concerns that the restrictions can prevent developers from informing consumers about affordable streaming service subscriptions.
What happens next?
The Financial Times reported that the Commission will announce the fine in the early part of the next month. The maximum fine for anti-competitive behavior is 10% of global turnover, which, in Apple’s case, could be up to $30bn (£24bn), although the final amount is expected to be lower. Apple may appeal the Commission’s decision.
What are Apple and Spotify saying?
Apple and Spotify declined to comment on Monday. However, Apple has previously defended its App Store, stating that it has aided Spotify in becoming Europe’s top music streaming service.
Spotify, on the other hand, has emphasized its complaint against Apple’s aim to establish a “level playing field,” arguing that the App Store restrictions give preference to Apple Music, the company’s own streaming service.
What do the experts say?
Ann Witt, a professor of antitrust law at France’s EDHEC Business School, remarked that Apple is already confronting a stringent regulatory environment with the introduction of the DMA. The Open Market Institute opined that the size of the reported fine will not have a significant impact on Apple’s behavior.
Apple has reportedly been fined 500 million euros by the European Union over restricting access to its music streaming service, in what would be a landmark blow to the US technology company.
The European Commission is investigating whether Apple prevented music streamers from telling users cheaper ways to subscribe outside of the app store.
According to the Financial Times, the city of Brussels plans to impose a €500m (£427m) fine, a landmark move against Apple after years of complaints from companies offering services through iPhone apps. This is a judgment.
In 2019, Swedish streaming company Spotify filed a complaint with the EU, accusing Apple of limiting choice and competition in its app store by imposing a 30% fee on all purchases. Apple also blocked Spotify and other companies from notifying customers on their phones that they could avoid fees and get better deals simply by signing up on Spotify's website.
Apple says its fees are justified because it spends a lot of money providing a secure app store and gives Spotify access to hundreds of millions of customers. However, Spotify argues that Apple Music, Apple's own music streaming service, does not incur similar additional costs, giving Spotify an advantage and making the rates non-competitive.
The European Commission said Apple's actions were illegal and contrary to European Union rules forcing competition in the single market, the FT reported, citing five people close to the investigation. would argue. The commission could also reportedly ban practices that prevent music services from advertising cheaper subscriptions off-platform.
Apple was fined 1.1 billion euros by France in 2020 for anti-competition agreements with two wholesalers, but has never been hit with a competition fine by the European Commission.
But IT and other big tech companies are under increasing scrutiny due to competitive concerns. Google is appealing against fines of more than 8 billion euros imposed by the EU in three separate competition investigations. Apple lost a lawsuit by Fortnite developer Epic Games that claimed its app store was an illegal monopoly, but Epic won a similar lawsuit against Google, which runs Android phone software, in December. .
Last month, Apple announced it would allow EU customers to download apps without going through its own app store, in response to the EU's digital markets law. The law, whose details were revealed last year, imposes new obligations on “gatekeepers” such as Amazon and Google, which are particularly powerful in controlling the choice of mobile phone software.
The European Commission declined to comment. Apple had no new comments, but pointed to its previous statement that it would respond to the commission's concerns “while promoting competition and choice for European consumers.”
According to Microsoft analysts, Iranian state-backed hackers disrupted a television streaming service in the United Arab Emirates and broadcast a deepfake newsreader distributing reports on the Gaza war.
Microsoft announced that a hacking operation by the Islamic Revolutionary Guards Corps disrupted streaming platforms in the UAE with an AI-generated news broadcast dubbed “For Humanity.”
The fake news anchors introduced unverified images showing wounded and killed Palestinians in Israeli military operations in Gaza. The hacker group known as Cotton Sandstorm hacked three online streaming services and published a video on the messaging platform Telegram showing them disrupting a news channel with fake newscasters, according to Microsoft analysts.
Dubai residents using HK1RBOXX set-top boxes received a message in December that read, “To get this message to you, we have no choice but to hack you,” the UAE-based news service said. The AI-generated anchor then introduced a message that read: “Graphic” images and captions showing the number of casualties in Gaza so far.
Microsoft also noted reports of disruptions in Canada and the United Kingdom, where channels including the BBC were affected, although the BBC was not directly hacked.
In a blog post, Microsoft said, “This is the first Iranian influence operation where AI plays a key element in messaging, and is an example of the rapid and significant expansion of the Iranian operation’s scope since its inception.”
“The confusion was also felt by viewers in the UAE, UK, and Canada.”
Breakthroughs in generative AI technology have led to an increase in deepfake content online, which has raised concerns about its potential to disrupt elections, including the US presidential election.
Experts are concerned that AI-generated materials could be deployed on a large scale to disrupt elections this year, including the US presidential election. Iran targeted the 2020 US election with a cyber campaign that included sending threatening emails to voters posing as members of the far-right Proud Boys group and launching a website inciting violence against FBI Director Christopher Wray and others. Spreading disinformation about voting infrastructure.
Microsoft said that since the Oct. 7 Hamas attack, Iranian state-backed forces have engaged in a series of cyberattacks and attempts to manipulate public opinion online, including attacks on targets in Israel, Albania, Bahrain (a signatory to the Abraham Accords formalizing relations with Israel), and the US.
Spotify is withdrawing support from two music festivals in protest of a controversial new tax on the French-operated music streaming platform, with further action expected in the coming months. is threatening.
Antoine MoninManaging Director of Spotify in France and Benelux, took me to X This week we will criticize new tax All music streaming services will be subject to a levy of 1.5% to 1.75%, the proceeds of which will be donated to the National Music Center (CNM). Founded in 2020 To support the French music sector.
All major music streaming platforms have joined together to oppose the new law, including Apple, Google’s YouTube, and local company Deezer, but Spotify has been the most vocal.Following last week’s announcement, Spotify the movement said said it was a “real blow to innovation” and was assessing its next move.
The company has now given a first look at what these moves will look like, with Monin saying it will withdraw its support: Francofolie de la Rochelle And that Printemps de Bourges We are supporting the festival starting in 2024 through financial and other on-site resources. “Other announcements will follow in 2024,” Monin added, but did not elaborate on what those measures would be.
Tete a Tetes
It’s worth noting that Spotify has recently gotten into trouble. Tete a tete Negotiations are underway with the Uruguayan government over a new law that promises “fair and equitable” remuneration for all artists involved in recordings. Spotify would have to pay rights holders twice for the same track under this law, Therefore, stop operating in that country. The company then made a 180-degree turn after receiving assurances from the government that music streaming platforms would not be expected to incur any additional costs resulting from the law.
France is different in that it is probably a much larger market for Spotify and an exit is not a viable course of action. And, as Monin hinted last week, that action plan is likely to focus on reallocating resources to other markets.
“Spotify will have the means to absorb this tax, but Spotify will stop investing in France and invest in other markets,” Monnin said. in an interview Last week on France Info. “France does not encourage innovation or investment.”
Michael J. Fox appears in documentary ‘Still’ about living with Parkinson’s disease (BBC i player)
This big-budget series from David Attenborough and the BBC Studios Natural History Unit takes a closer look at the flora and fauna of Britain and Ireland. The sex lives of the fighting sage-grouse and the grey-black slug are two of his highlights. (BBC i player)
In 2016, 10-year-old Maya Kowalski was hospitalized after complaining of severe pain. The tragedy that followed revealed the flaws in American hospitals. Please take care of Maya (Netflix)
each episode of earth From the worst mass extinction in history to the emergence of humanity, it delves deep into Earth’s history and is packed with cutting-edge scientific research. A still image from Earth of Prototaxitides, an 8-metre-tall fungus that towered over plants 430 million years ago. (BBC i player)
Michael J. Fox is best known as the star of back to the future He was diagnosed with early-onset Parkinson’s disease at just 29 years old. His documentary about living with this disease is moving, but not strange. Still: Michael J. Fox movies (Apple TV+)
This addictive and interesting series from mathematician Hannah Fry returns in 2023 to teach you all about the innovations that power our everyday lives, from passports to vacuum cleaners. Hannah Fry’s “An Addictive and Interesting ‘Secret Genius of Modern Life'”BBC Studio / Marco Cervi
The world of emergency medicine can be difficult to navigate, but this unflinching documentary about New York’s frontline medical workers is a must-see. emergency new york city (Netflix)
Another work by David Attenborough, this beautiful animated series explores the weirder, wilder side of dinosaurs and their dinosaur contemporaries. With a focus on recreating the atmosphere of classic nature documentaries, you’ll feel like you’re actually living in a prehistoric world. Prehistoric Planet II (Apple TV+)
48 million people in the United States get food poisoning each year. This documentary highlights the industries that are fueling the spread of the virus, revealing shocking facts. Poisoned: The dirty truth about food (Netflix)
Ella Glendining, who was born with no hips and short femurs, had never met anyone with her rare condition. The community she finds highlights the discrimination she faces elsewhere in her life. Ella Glendining in the documentary “Is There Anybody Out There?” (BFI player)
When it comes to mainstream nature documentaries, few are bold enough to explicitly connect the natural beauty of our planet with the threat of climate change it faces. our planet II It’s a refreshing departure. our planet II (Netflix)
Only one episode, color of the universe, a seven-part series about NASA’s black astronauts, has been released and is already a highlight of the new streaming service NASA+. Episode 1 tells the story of Charlie Bolden, the first black administrator at NASA. color of the universe (NASA+ and YouTube)
This eclectic four-part series explores drone warfare, the James Webb Space Telescope, homo naledi And ancient necropolises are perfect for mystery fans looking for variety. unknown (Netflix)
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