Nvidia's G-Sync Pulsar technology, first announced nearly two years ago as a solution to display motion blur caused by old images persisting on the viewer's retina, is finally arriving in consumer monitors this week. The first four Pulsar-equipped displays -- from Acer, AOC, Asus and MSI -- hit select retailers on Wednesday, all sharing the same core specs: 27-inch IPS panels running at 1440p resolution and up to 360 Hz refresh rates. Nvidia claims the technology delivers the "effective motion clarity of a theoretical 1,000 Hz monitor."

The system uses a rolling scan scheme that pulses the backlight for one-quarter of a frame just before pixels are overwritten, giving them time to fully transition between colors before illumination. The approach also reduces how long old pixels persist on the viewer's retina. Previous "Ultra Low Motion Blur" features on other monitors worked only at fixed refresh rates, but Pulsar syncs its pulses to G-Sync's variable refresh rate.

Early reviews are mixed. The Monitors Unboxed YouTube channel called it "clearly the best solution currently available" for limiting motion blur, while PC Magazine described the improvements as "minor in the grand scheme of things" and potentially hard for casual viewers to notice.

At CES 2026 today, Hyundai and Boston Dynamics publicly demonstrated its humanoid robot Atlas, showing off fluid movement and announcing plans to deploy a production version in Hyundai's EV factory by 2028. NBC News reports: "For the first time ever in public, please welcome Atlas to the stage," said Boston Dynamics' Zachary Jackowski as a life-sized robot with two arms and two legs picked itself up from the floor at a Las Vegas hotel ballroom. It then fluidly walked around the stage for several minutes, sometimes waving to the crowd and swiveling its head like an owl. An engineer remotely piloted the robot from nearby for the purpose of the demonstration, though in real life Atlas will move around on its own, said Jackowski, the company's general manager for humanoid robots.

[...] Hyundai also announced a new partnership with Google's DeepMind, which will supply its artificial intelligence technology to Boston Dynamics robots. It's a return to a familiar partnership for Google, which bought Boston Dynamics in 2013 before selling it to Japanese tech giant SoftBank several years later. Hyundai acquired it from SoftBank in 2021. [...] At the end of Monday's live Atlas demonstration, which appeared flawless, the humanoid prototype swung its arms in a theatrical gesture to introduce a static model of the new product version of Atlas, which looked slightly different and was blue in color. "I think the question comes back to what are the use cases and where is the applicability of the technology," said Alex Panas, a partner at consultancy McKinsey who helped lead a CES robotics panel that attracted hundreds of people earlier in the day. "In some cases, it may look more humanoid. In some cases, it may not."

Either way, Panas said, "the software, the chipsets, the communication, all the other pieces of the technology are coming together, and they will create new applications."

You can watch a video of the demonstration on YouTube.

Here it is — Betty Boop's first appearance, which became public domain on Thursday. It's a 60-second song halfway through a longer cartoon about a restaurant titled Dizzy Dishes. (The first scene makes it clear this is a restaurant of anthropomorphized animals — which explains why the as-yet-unnamed character has floppy dog ears...)

So Fleischer Studios has now warned that claiming Betty Boop is public domain "is actually not true." Very often, different versions of a character that have been developed later can independently enjoy copyright protection. Also, names and depictions of a character very frequently will remain separately protected by trademark and other laws, regardless of whether the copyright has expired.
But is that really true? Fleischer Studios went out of business in 1946, notes Los Angeles Times columnist Michael Hiltzik: By then it had sold the rights to its cartoons and the Betty Boop character. A new Fleischer Studios was formed in the 1970s by Fleischer descendants, including Max's grandson Mark Fleischer, and set about repurchasing the rights that had been sold. Whether it reacquired the rights to Betty Boop is up for discussion... According to a federal appeals court ruling in 2011, the answer is no. Having navigated its way through the three or four copyright transfers that followed the original rights sale, the appeals court concluded that the original Fleischer studios sold the rights to Betty Boop and the related cartoons to Paramount in 1941 but couldn't verify that the rights to the character had been sold in an unbroken chain placing them with the new studio. The "chain of title" was broken, the appellate judges found — but they didn't say who ended up with Betty Boop.
And last month Cory Doctorow pointed out that "while the Fleischer studio (where Betty Boop was created) renewed the copyright on Dizzy Dishes, there were many other shorts that entered the public domain years ago." That means that all the aspects of Betty Boop that were developed for Dizzy Dishes are about to enter the public domain. But also, all the aspects of Betty Boop from those non-renewed shorts are already in the public domain. But some of the remaining aspects of Betty Boop's character design — those developed in subsequent shorts that were also renewed — are also in the public domain, because they aren't copyrightable in the first place, because they're "generic," or "trivial," constitute "minuscule variations," or be so standard or indispensable as to be a "scène à faire...." But we're not done yet! Just because some later aspects of the Betty Boop character design are still in copyright, it doesn't follow that you aren't allowed to use them! U.S. Copyright law has a broad set "limitations and exceptions," including fair use.
So while Fleischer Studios insists Betty Boop "will continue to enjoy copyright and trademark protection for years to come," Doctorow has some thoughts on that trademark: Even the Supreme Court has (repeatedly) upheld the principle that trademark can't be used as a backdoor to extend copyright.

That's important, because the current Betty Boop license-holders have been sending out baseless legal threats claiming that their trademarks over Betty Boop mean that she's not going into the public domain. They're not the only ones, either! This is a routine, petty scam perpetrated by marketing companies that have scooped up the (usually confused and difficult-to-verify) title to cultural icons and then gone into business extracting rent from people and businesses who want to make new works with them.
"Trademarks only prevent you from using character names and depictions in a way that misleads consumers into thinking your work is produced or sponsored by the rightsholder," Duke University clarified in their January 1st explanation of Public Domain Day 2026 — "for example, by putting them on unlicensed merchandise. They do not prevent you from using them in a new creative work clearly unaffiliated with the rights owners..."

"Regardless of who owns the later versions of the character, the original Betty Boop character from 1930 is in the public domain." This is another reason why copyright expiration is so important: It brings clarity... Under US copyright law, anyone is free to use characters as they appeared in public domain works. If those characters recur in later works that are still under copyright, the rights only extend to the newly added material in those works, not the underlying material from the public domain works — that content remains freely available. Second, with newer versions of characters, copyright only extends to those new features that qualify for such protection...

Dozens of post-1930 Betty Boop cartoons, including Ker-Choo (1932) and Poor Cinderella (1934), did not have renewals. The newly added material in these animations is also in the public domain... To sum up the copyright story so far: in 2026, the underlying Betty Boop character goes into the public domain. She is joined there by the attributes, plot lines, and dialogue that were first introduced in those later cartoons without renewed copyrights, as well as the uncopyrightable attributes of her later instantiations...

Certainly, there would be a risk of consumer confusion if you use Betty Boop as a brand identifier on the kind of merchandise Fleischer sells — jewelry, back packs, water bottles, dolls. Trademark law does protect Fleischer against that risk. Contrast these uses with simply putting the Boop character in a new artistic work. This is exactly what copyright expiration is intended to allow. Were trademark law to prevent this, then trademark rights would be leveraged to obtain the effective equivalent of a perpetual copyright — precisely what the Supreme Court said we cannot do...

If courts have delineated the line between copyright and trademark, why is there so little clarity in this area? Sadly, companies sometimes claim to have more expansive rights than they actually do, capitalizing on fear, uncertainty, and doubt to collect royalties and licensing fees to which they are not legally entitled.

An anonymous reader shared this report from Neowin: Offline Windows activation has been possible to do using the phone. However, it looks like Microsoft has quietly killed off that method as users online have found that they are no longer able to activate the OS using it... [As documented by Windows user Ben Kleinberg on his YouTube channel], Now when trying to activate the OS by attempting to call the phone number for Microsoft Product Activation, an automated voice response says the following: "Support for product activation has moved online. For the fastest and most convenient way to activate your product, please visit our online product activation portal at aka.ms/aoh"

If you are wondering, that link takes users to the Microsoft Product Activation Portal for online activation. Thus it appears that offline ways to activate Windows may no longer be available even though the official support documentation by the company may not reflect it yet.

An anonymous reader quotes a report from the Guardian: France intends to follow Australia and ban social media platforms for children from the start of the 2026 academic year. A draft bill preventing under-15s from using social media will be submitted for legal checks and is expected to be debated in parliament early in the new year. The French president, Emmanuel Macron, has made it clear in recent weeks that he wants France to swiftly follow Australia's world-first ban on social media platforms for under-16s, which came into force in December. It includes Facebook, Snapchat, TikTok and YouTube.

Le Monde and France Info reported on Wednesday that a draft bill was now complete and contained two measures: a ban on social media for under-15s and a ban on mobile phones in high schools, where 15- to 18-year-olds study. Phones have already been banned in primary and middle schools. The bill will be submitted to France's Conseil d'Etat for legal review in the coming days. Education unions will also look at the proposed high-school ban on phones. The government wants the social media ban to come into force from September 2026.

Le Monde reported the text of the draft bill cited "the risks of excessive screen use by teenagers," including the dangers of being exposed to inappropriate social media content, online bullying, and altered sleep patterns. The bill states the need to "protect future generations" from dangers that threaten their ability to thrive and live together in a society with shared values. Earlier this month, Macron confirmed at a public debate in Saint Malo that he wanted a social media ban for young teenagers. He said there was "consensus being shaped" on the issue after Australia introduced its ban.

"The more screen time there is, the more school achievement drops the more screen time there is, the more mental health problems go up," he said. He used the analogy of a teenager getting into a Formula One racing car before they had learned to drive. "If a child is in a Formula One car and they turn on the engine, I don't want them to win the race, I just want them to get out of the car. I want them to learn the highway code first, and to ensure the car works, and to teach them to drive in a different car."

PC Gamer argues that 2025 was a year full of high-profile AI embarrassments across games and entertainment, with Disney and Lucasfilm serving as the "opening salvo." From the report: At a TED talk back in April, Lucasfilm senior vice president of creative innovation Rob Bredow presented a demonstration of what he called "a new era of technology." Across 50 years of legendary innovation in miniature design, practical effects, and computer animation, Lucasfilm and its miracle workers at Industrial Light & Magic have blazed the trail for visual effects in creative storytelling -- and now Bredow was offering a glimpse at what wonders might come next.

That glimpse, created over two weeks by an ILM artist, was Star Wars: Field Guide: a two-minute fizzle reel of AI-generated blue lions, tentacled walruses, turtles with alligator heads, and zebra-stripe chimpanzees, all lazily spliced together from the shuffled bits of normal-ass animals. These "aliens" were less Star Wars than they were Barnum & Bailey. It felt like a singular embarrassment: Instead of showing its potential, generative AI just demonstrated how out of touch a major media force had become. And then it kept happening.

At the time, I wondered whether evoking the legacy of Lucasfilm just to declare creative bankruptcy had provoked enough disgusted responses to convince Disney to slow its roll on AI ventures. In the months since, however, it's clear that Star Wars: Field Guide wasn't a cautionary tale. It was a mission statement. Disney is boldly, firmly placing its hand on the hot stove. Other embarrassing AI use cases include Fortnite's AI-powered Darth Vader NPC, Activision's use of AI-generated art in what was widely described as the "weakest" Call of Duty launch in years, McDonald's short-lived AI holiday ad, and Disney's $1 billion licensing deal with OpenAI.

The consulting firm CVL Economics estimated last year that AI would disrupt more than 200,000 entertainment-industry jobs in the United States by 2026, but writer Nick Geisler argues in The Atlantic that the most consequential casualties may be the humble entry-level positions where aspiring artists have traditionally paid dues and learned their craft. Geisler, a screenwriter and WGA member who started out writing copy for a how-to website in the mid-2010s, notes that ChatGPT can now handle the kind of articles he once produced.

This pattern is visible today across creative industries: the AI software Eddie launched an update in September capable of producing first edits of films, and LinkedIn job listings increasingly seek people to train AI models rather than write original copy. The story adds: The problem is that entry-level creative jobs are much more than grunt work. Working within established formulas and routines is how young artists develop their skills. The historical record suggests those early rungs matter. Hunter S. Thompson began as a copy boy for Time magazine; Joan Didion was a research assistant at Vogue; directors Martin Scorsese, Jonathan Demme, and Francis Ford Coppola shot cheap B movies for Roger Corman before their breakthrough work. Geisler himself landed his first Netflix screenplay commission through a producer he met while making rough cuts for a YouTube channel. The story adds: Beyond the money, which is usually modest, low-level creative jobs offer practice time and pathways for mentorship that side gigs such as waiting tables and tending bar do not. Further reading: Hollow at the Base.

Meta has agreed to acquire viral AI agent startup Manus, "a Singapore-based AI startup that's become the talk of Silicon Valley since it materialized this spring with a demo video so slick it went instantly viral," reports TechCrunch. "The clip showed an AI agent that could do things like screen job candidates, plan vacations, and analyze stock portfolios. Manus claimed at the time that it outperformed OpenAI's Deep Research." From the report: By April, just weeks after launch, the early-stage firm Benchmark led a $75 million funding round that assigned Manus a post-money valuation of $500 million. General partner Chetan Puttagunta joined the board. Per Chinese media outlets, some other big-name backers had already invested in Manus at that point, including Tencent, ZhenFund, and HSG (formerly known as Sequoia China) via an earlier $10 million round.

Though Bloomberg raised questions when Manus started charging $39 or $199 a month for access to its AI models (the outlet noted the pricing seemed "somewhat aggressive... for a membership service still in a testing phase,") the company recently announced it had since signed up millions of users and crossed $100 million in annual recurring revenue. That's when Meta started negotiating with Manus, according to the WSJ, which says Meta is paying $2 billion -- the same valuation Manus was seeking for its next funding round.

For Zuckerberg, who has staked Meta's future on AI, Manus represents something new: an AI product that's actually making money (investors have grown increasingly twitchy about Meta's $60 billion infrastructure spending spree). Meta says it'll keep Manus running independently while weaving its agents into Facebook, Instagram, and WhatsApp, where Meta's own chatbot, Meta AI, is already available to users.

Americans are settling into streaming habits that should worry Hollywood executives, as new Nielsen data analyzed by Bloomberg reveals that not a single new original series cracked the top 10 most-watched streaming shows in 2025 -- the first time this has happened since Nielsen began publishing streaming data in 2020.

The shift extends beyond original programming as free, ad-supported streaming services are growing faster than their paid counterparts. YouTube has become the most-watched streaming service on American televisions, now larger than Netflix and Amazon combined. The Roku Channel and Tubi have nearly doubled in size over the past two years, while Peacock and Warner Bros.' streaming services have stagnated at roughly half their free competitors' viewership share.

Netflix still dominates when it comes to hits, accounting for about two-thirds of original programs appearing in Nielsen's weekly top 10 lists. But that dominance is eroding -- the company's share of streaming viewership has fallen below 20%. Meanwhile, Disney's streaming services haven't increased their share of TV viewing in three years, and Amazon is closing in. The most-watched original series of 2025 was Squid Game's final season, followed by returning shows Wednesday and Love Island.

Long-time Slashdot reader destinyland writes: What's the stupidest use of AI you encountered in 2025? Have you been called by AI telemarketers? Forced to do job interviews with a glitching AI?

With all this talk of "disruption" and "inevitability," this is our chance to have some fun. Personally, I think 2025's worst AI "innovation" was the AI-powered web browsers that eat web pages and then spit out a slop "summary" of what you would've seen if you'd actually visited the web page. But there've been other AI projects that were just exquisitely, quintessentially bad...

— Two years after the death of Suzanne Somers, her husband recreated her with an AI-powered robot.

— Disneyland imagineers used deep reinforcement learning to program a talking robot snowman.

— Attendees at LA Comic Con were offered that chance to to talk to an AI-powered hologram of Stan Lee for $20.

— And of course, as the year ended, the Wall Street Journal announced that a vending machine run by Anthropic's Claude AI had been tricked into giving away hundreds of dollars in merchandise for free, including a PlayStation 5, a live fish, and underwear.

What did I miss? What "AI fails" will you remember most about 2025?
Share your own thoughts and observations in the comments.

What's the stupidest use of AI you saw In 2025?

NVIDIA has been "gradually dropping support for older videocards," notes Hackaday, "with the Pascal (GTX 10xx) GPUs most recently getting axed."

"What's more surprising is the terrible way that this is being handled by certain Linux distributions, with Arch Linux currently a prime example.?" On these systems, updating the OS with a Pascal, Maxwell or similarly unsupported GPU will result in the new driver failing to load and thus the user getting kicked back to the CLI to try and sort things back out there. This issue is summarized by [Brodie Robertson] in a recent video.
"Users with GTX 10xx series and older cards must switch to the legacy proprietary branch to maintain support," explains an announcement on the Arch Linux mailing list. But Hackaday points out that using the legacy option "breaks Steam as it relies on official NVIDIA dependencies, which requires an additional series of hacks to hopefully restore this functionality.

"Fortunately the Arch Wiki provides a starting point on what to do."

alternative_right shares a report from Euronews: France's President Emmanuel Macron discovered news of his own supposed overthrow, after he received a message of concern, along with a link to a Facebook video. "On Sunday (14 December) one of my African counterparts got in touch, writing 'Dear president, what's happening to you? I'm very worried,'" Macron told readers of French local newspaper La Provence on December 16.

Alongside the message, a compelling video showcasing a swirling helicopter, military personnel, crowds and -- what appears to be -- a news anchor delivering a piece to camera. "Unofficial reports suggest that there has been a coup in France, led by a colonel whose identity has not been revealed, along with the possible fall of Emmanuel Macron. However, the authorities have not issued a clear statement," she says.

Except, nothing about this video is authentic: it was created with AI. After discovering the video, Macron asked Pharos -- France's official portal for signaling online illicit content -- to call Facebook's parent company Meta, to get the fake video removed. But that request was turned down, as the platform claimed it did not violate its "rules of use." [...] The original video ... racked up more than 12 million views [...].The teenager running the account is based in Burkina Faso and makes money running courses focusing on how to monetize AI. He eventually took the video down more than a week after its initial publication, due to political -- and public -- controversy. "I tend to think that I have more power to apply pressure than other people," Macron said. "Or rather, that it's easier to say something is serious if I am the one calling, but it doesn't work."

"These people are mocking us," he added. "They don't care about the serenity of public debates, they don't care about democracy, and therefore they are putting us in danger."

Adult children across the United States are increasingly reporting that their aging parents have developed what looks remarkably like the smartphone addiction [non-paywalled source] typically associated with teenagers, a phenomenon The Atlantic's Charlie Warzel has dubbed "phone-based retirement." A 2019 Pew Research Center study found people 60 and older spend more than half their daily leisure time -- four hours and 16 minutes -- in front of screens. Nielsen reported this year that adults 65 and up watch YouTube on their TVs nearly twice as much as they did two years ago. 40% of adults aged 59 to 77 reported feeling anxious without device access in a 2,000-person survey.

Ipsit Vahia, chief of geriatric psychiatry at Mass General Brigham's McLean Hospital, cautioned against treating all older adults as a monolithic group. The COVID-19 pandemic drove significant tech adoption among seniors as Zoom became essential for family gatherings, church services, and telehealth. Some research suggests device use may be linked to better cognitive function for people over 50, and Vahia noted that technology use in older adults appears to protect them from isolation and loneliness -- the opposite of its effect on teenagers.

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.

Longtime Slashdot reader MrFreak shares a public radio interview from 2015 discussing artificial intelligence as inference over abstract inputs, along with scaling limits, automation, and governance models, where for-profit engines are constrained by nonprofit oversight: Recorded months before OpenAI was founded, the conversation treats intelligence as math plus incentives rather than something mystical, touching on architectural bottlenecks, why "reasoning" may not simply emerge from brute force, labor displacement, and institutional design for advanced AI systems. Many of the themes align closely with current debates around large language models and AI governance.

The recording was revisited following recent remarks by Sergey Brin at Stanford, where he acknowledged that despite Google's early work on Transformers, institutional hesitation and incentive structures limited how aggressively the technology was pursued. The interview provides an earlier, first-principles perspective on how abstraction, scaling, and organizational design might interact once AI systems begin to compound.

"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.

A group of activists has scraped Spotify's entire library, accessing 256 million rows of track metadata and 86 million audio files totaling roughly 300TB of data. The metadata has been released via Anna's Archive, a search engine for "shadow libraries" that previously focused on books.

Spotify described the activists as "anti-copyright extremists who've previously pirated content from YouTube and other platforms" and confirmed it is actively investigating the incident. The activists claim this represents "the world's first 'preservation archive' for music which is fully open" and covers "around 99.6% of listens."

They appear to have used Spotify's public web API to scrape the metadata and circumvented DRM to access audio files. Spotify insists that this is not a security breach affecting user data. Though the more pressing concern for the music industry may be AI training rather than pirate streaming services -- similar YouTube datasets have reportedly been used by unlicensed generative AI music services.

A "slew of layoffs, price hikes and studio closures" for Microsoft's Xbox "have led many to declare — not for the first time — that the Xbox is dead," reports CNBC.

Or is it just changing its business model? The company's overall gaming revenue decreased 2% year-over-year, with a 29% dip in Xbox hardware sales, according to Microsoft's first-quarter earnings for fiscal 2026. The broader console industry has been in a major slump, with hardware spending down 27% year-over-year in November, which is typically a busy shopping month, according to a recent report from research firm Circana. It was the worst November in two decades, IGN reported, citing Circana data. Combined Switch and Switch 2 unit sales were down more than 10% during the month and PS5 sales were down more than 40%, IGN said. But the Xbox Series hardware took the biggest beating, with a dramatic 70% drop in sales...Microsoft's Xbox Series S and Series X, at 1.7 million units, couldn't outsell the original Nintendo Switch, which launched in 2017 and has sold 3.4 million units so far this year, data from game sales tracking site VGChartz estimated...

Microsoft CEO Satya Nadella said in a recent interview with the TBPN podcast that the company's gaming business model will look to be "everywhere in every platform," from consoles to TV to mobile. His comments also hinted that the next Xbox may function more like a PC. "It's kind of funny people think about the console and PC as two different things," Nadella said. "We built a console because we wanted to build a better PC, which could then perform for gaming. So I kind of want to revisit some of that conventional wisdom...." A source familiar with Xbox strategy told CNBC that the company is looking at creating an open system that enables players to jump between console, PC and cloud gaming — and any form of entertainment beyond gaming. [Wedbush analyst Michael Pachter told CNBC] that while Microsoft is not completely abandoning hardware, the company is splitting its audience into existing buyers interested in specialized consoles and everyone else.

Xbox Game Pass subscription service, which gives subscribers access to games from a variety of publishers, is a clear example of this strategy... The growth in cloud gaming has been blistering. Xbox reported a record 34 million Game Pass subscribers in 2024 and a total Game Pass revenue of almost $5 billion over the last fiscal year. Xbox said in a November blog post that the number of cloud gaming hours from Game Pass subscribers was up 45% compared to the same time last year. The Microsoft subsidiary also said console players are "spending 45% more time cloud streaming on console and 24% more on other devices..."

Despite gaming's scaling limitations, Microsoft seems committed to doing what it has done with the rest of its products — moving it to the cloud... [Xbox President Sarah] Bond recently said in an interview with Mashable that the idea of exclusive games is "antiquated" as the company has leaned into cross-platform gaming... Xbox is betting that cloud and cross-platform gaming are the future. For a decade, claims have been made about the death of the Xbox, and what comes next could fully spell the end, or bring a metamorphosis.

The White House says it's investigating how a personal-finance YouTuber's livestream briefly appeared on the White House's official live video page. The creator says he has no idea how his video ended up there. The Associated Press reports: The livestream appeared for at least eight minutes late Thursday on whitehouse.gov/live, where the White House usually streams live video of the president speaking. It's unclear if the website was breached or the video was linked accidentally by someone in the government. The White House said in a statement that it was "aware and looking into what happened." The video that appeared on the government-run website featured some of a more than two-hour livestream from Matt Farley, who posts as @RealMattMoney, as he answered financial questions.

Farley told The Associated Press on Friday that he had no idea what happened and learned about it after the fact. He said he had not been contacted by the government and didn't have any theories about how his livestream ended up on the website. He joked that he hoped President Donald Trump and his youngest son, Barron Trump, "are watching my streams and taking advice."

"Had I known it would have been on the White House website, I probably would have had other things to talk about than personal finance," Farley said. When asked what other things he would discuss, Farley responded with a laugh and said: "What would you talk about with the world for eight minutes if you had an opportunity? I'm just some guy making YouTube videos about stocks."

Microsoft's latest holiday ad for its Copilot AI assistant features a 30-second montage of users seamlessly syncing smart home lights to music, scaling recipes for large gatherings, and parsing HOA guidelines -- none of which the software can actually perform reliably when put to the test. The Verge methodically tested each prompt shown in the ad and found that Copilot repeatedly hallucinated interface elements that didn't exist, claimed to highlight on-screen buttons when it hadn't, and abandoned calculations midway through.

The smart home interface shown in the ad belongs to "Relecloud," a fictional company Microsoft uses in internal case studies. A Microsoft spokesperson confirmed that both the HOA document and the inflatable reindeer photo were fabricated for the advertisement. The ad closes with Santa Claus asking Copilot why toy production is behind schedule.

Further reading: Talking To Windows' Copilot AI Makes a Computer Feel Incompetent.