Longtime Slashdot reader cusco writes: A private company in China has developed hypersonic missiles that cost the same as a Tesla Model X. This missile, the YKJ-1000, is being marketed for sale at a reported price of $99,000, and it's in mass production now after successful tests. That is far below what countries will spend to target and shoot down the missile if it's heading their way.

Besides the low cost, they can be launched from anywhere. The launcher looks like any one of the tens of millions of shipping containers floating around on the ocean, or sitting at ports, or riding along on trucks, or sitting on industrial lots. The launchers for these missiles are hiding in plain sight, in other words. Whatever tactical advantages great-power countries have in ballistics is going away, fast; 1,300 kilometers is 800 miles, and so the range is anything within 800 miles of wherever someone can send a shipping container. To keep the price down, the missile is reportedly using civilian-grade materials and widely available commercial parts, along with simpler manufacturing methods like die-casting. There are also broader savings from tapping mature supply chains and using China's large-scale civilian industrial base.

Anthropic is testing a new Claude feature that lets users send a request from their phone and have the AI carry it out directly on their computer, such as opening apps, using a browser, or editing files. The move follows the viral spread of OpenClaw earlier this year, which has gained cult popularity among devs for the ability to run local, 24/7 personal workflows. CNBC reports: Users can now message Claude a task from a phone, and the AI agent will then complete that task, Anthropic announced Monday. After being prompted, Claude can open apps on your computer, navigate a web browser and fill in spreadsheets, Anthropic said. One prompt Anthropic demonstrated in a video posted Monday is a user running late for a meeting. The user asks Claude to export a pitch deck as a PDF file and attach it to a meeting invite. The video shows Claude carrying out the task. [...]

Anthropic cautioned that computer use "is still early compared to Claude's ability to code or interact with text." "Claude can make mistakes, and while we continue to improve our safeguards, threats are constantly evolving," Anthropic warned. The company added that it has built the computer use capability "with safeguards that minimize risk," and that Claude will always request permission before accessing new apps. Users can use Dispatch, a feature it released last week in Claude Cowork. That lets users have a continuous conversation with Claude from a phone or desktop and assign the agent tasks.

Nvidia CEO Jensen Huang says he understands the concerns about "AI slop" with DLSS 5 but insists the feature preserves a game's underlying geometry and artistic intent. "I think their perspective makes sense, " said Huang during a recent appearance on the Lex Fridman podcast. "And I could see where they're coming from because I don't love AI slop myself. You know, all of the AI-generated content increasingly looks similar, and they're all beautiful... so I'm empathic toward what they're thinking. That's just not what DLSS 5 is trying to do." Tom's Hardware reports: Although Huang is striking a more conciliatory tone, much of his response is similar to what we heard at GTC [where Huang said gamers were "completely wrong."] The artist determines the geometry, we are completely truthful to the geometry... so every single frame, it enhances, but it doesn't change anything." There was some confusion about how DLSS 5 worked when it was first announced, and although the inner workings of it still aren't clear on a technical level, Huang has said that it isn't a general-purpose generative AI model. He describes it as "content-controlled generative AI." On the other end of the spectrum, Huang also said that it isn't a post-processing filter. The technical details of DLSS 5 live somewhere between that space, and we likely won't know them until later this year when the feature is set to release.

"The question about enhancing, DLSS 5... in the future, you could even prompt it. You know, I want it to be a toon shader. I want it to look like this, kind of. You could even give it an example and it would generate in the style of that, all consistent with the artistry, the style, the intent of the artist," Huang continued. "All of that is done for the artist so they can create something that is more beautiful but still in the style that they want." Although the talking points about DLSS 5 remain unchanged, it seems that Huang has at least heard the criticism. "I think that they got the impression that the games are going to come out the way the games are... and then we're going to post-process it. That's not what DLSS is intended to do."

Huang also made assertions that DLSS is "integrated" with the artist, and suggested that it would put the power of generative AI in the hands of artists working in game development [...]. Although DLSS 5 looks like it's doing a lot, Huang said that it's just another tool, not an essential feature. "The gamers might also appreciate that, in the last couple of years, we introduced skin shaders to game developers, and many of those games have skin shaders that include sub-surface scattering that makes skin look more skin-like... [DLSS 5] is just one more tool. They can decide what to use," Huang ended the conversation about DLSS 5. Immediately after, without missing a beat, he said 1993's Doom was the most influential video game ever made.

Many U.S. consumers are increasingly interested in lower-cost Chinese electric vehicles but steep tariffs and political resistance are keeping them out of the market. A recent survey from Cox Automotive found that 40% of respondents support allowing Chinese auto brands into the U.S. market. Reuters reports: While Chinese autos hit the highways of Europe, Latin America and even Canada, the U.S. government has effectively banned the cars with tariffs exceeding 100%, out of concerns over data security and protecting American jobs. In places like Europe, a number of Chinese EVs sell at prices under $30,000. Some of those cars include amenities like advanced driving assistance software, a built-in mini fridge, and the option to sing karaoke with your fellow passengers. "The technology they offer for those lower price tags was astounding," said Clint Simone, senior features editor for car-shopping website Edmunds, who drove several Chinese vehicles while at the CES trade show earlier this year. [...]

Consumers have some concerns over allowing Chinese car imports, though, including over data security and protecting U.S. businesses, survey results from The Harris Poll as well as Cox show. Rhett Ricart, an Ohio car dealer who sells several brands, including Ford, Chevrolet and Hyundai, said he has no doubt customers would snap up Chinese models if they became available. He and other dealers don't want that to happen yet, according to a recent Cox Automotive survey, which found that just 15% of dealers supported the entry of Chinese auto brands into the U.S., and just 26% trust that they would comply with U.S. safety standards.

Not meeting U.S. safety standards is one reason Chinese EVs cannot yet be owned permanently in the U.S. But those obstacles haven't quieted the buzz. The Cox survey polled 802 U.S. consumers who expect to buy a car in the next two years. Nearly half -- 49% -- rated Chinese cars as having very good or excellent value, and 40% say they support the idea of Chinese auto brands in the U.S. market. Rich Benoit, a car enthusiast whose YouTube videos reviewing Chinese models garner millions of views, said the most compelling feature is the price. "That's what a lot of people are looking for: efficient, quiet and low cost," he said. "They want to 'get to work-- not everyone is a car enthusiast." He's considering buying a BYD model in Mexico and driving it across the border. "That's the only way to get one," Benoit said. "They've been selling in Mexico for years... "I want to own a Chinese EV in America."

Will there be an AI-optimized programming language at the expense of human readability? There's now been experiments with minimizing tokens for "LLM efficiency, without any concern for how it would serve human developers."

This new article asks if AI will force source code to evolve — or make it extinct, noting that Stephen Cass, the special projects editor at IEEE Spectrum, has even been asking the ultimate question about our future. "Could we get our AIs to go straight from prompt to an intermediate language that could be fed into the interpreter or compiler of our choice? Do we need high-level languages at all in that future?" Cass acknowledged the obvious downsides. ("True, this would turn programs into inscrutable black boxes, but they could still be divided into modular testable units for sanity and quality checks.") But "instead of trying to read or maintain source code, programmers would just tweak their prompts and generate software afresh." This leads to some mind-boggling hypotheticals, like "What's the role of the programmer in a future without source code?" Cass asked the question and announced "an emergency interactive session" in October to discuss whether AI is signaling the end of distinct programming languages as we know them.

In that webinar, Cass said he believes programmers in this future would still suggest interfaces, select algorithms, and make other architecture design choices. And obviously the resulting code would need to pass tests, Cass said, and "has to be able to explain what it's doing." But what kind of abstractions could go away? And then "What happens when we really let AIs off the hook on this?" Cass asked — when we "stop bothering" to have them code in high-level languages. (Since, after all, high-level languages "are a tool for human beings.") "What if we let the machines go directly into creating intermediate code?" (Cass thinks the machine-language level would be too far down the stack, "because you do want a compile layer too for different architecture....")

In this future, the question might become 'What if you make fewer mistakes, but they're different mistakes?'" Cass said he's keeping an eye out for research papers on designing languages for AI, although he agreed that it's not a "tomorrow" thing — since, after all, we're still digesting "vibe coding" right now. But "I can see this becoming an area of active research."
The article also quotes Andrea Griffiths, a senior developer advocate at GitHub and a writer for the newsletter Main Branch, who's seen the attempts at an "AI-first" languages, but nothing yet with meaningful adoption. So maybe AI coding agents will just make it easier to use our existing languages — especially typed languages with built-in safety advantages.

And Scott Hanselman's podcast recently dubbed Chris Lattner's Mojo "a programming language for an AI world," just in the way it's designed to harness the computing power of today's multi-core chips.

America's cable TV industry "is undergoing its most dramatic collapse in history," reports Cord Cutters News, "with operators large and small waving the white flag on traditional TV service and pointing their customers toward streaming platforms instead." Just in 2025 Comcast lost 1.25 million pay-TV subscribers (ending the year with just 11.3 million), while Charter Spectrum also lost hundreds of thousands of customers each quarter.

But "for smaller regional operators, who lack the scale and diversified revenue streams of giants like Comcast, those kinds of losses are simply unsurvivable," they write. And "the companies that once delivered hundreds of channels through coaxial cables are now either shutting down entirely or reinventing themselves as internet providers." Pay-TV subscriptions have plummeted from nearly 90% of U.S. households in the mid-2010s to roughly half by the end of 2025, resulting in billions in lost revenue and forcing many smaller operators to conclude that continuing linear TV services is no longer viable... [This year over U.S. 50 cable TV companies — primarily smaller and midsize providers — are "expected to cease operations entirely or shut down their television services," Cord Cutters News reported earlier.] YouTube TV's pricing is so competitive that the platform is projected to have close to 12.6 million subscribers by the end of 2026, positioning it to become the largest paid TV distributor in the United States. Exclusive content deals, such as YouTube TV's acquisition of NFL Sunday Ticket rights, have further eroded the value proposition of traditional cable at every level of the market... As older cable subscribers age out of the market, there is no new generation of customers waiting to replace them...

[Cable TV] operators like WOW! are betting that their physical infrastructure — now increasingly upgraded to fiber — is more valuable as an internet delivery system than as a cable TV platform. [WOW! serves customers across Michigan, Ohio, Illinois, and Alabama — but is "phasing out its proprietary streaming live TV service and directing all customers toward YouTube TV," the article notes.] Industry observers see this as part of a broader trend: operators shedding unprofitable video segments to focus on broadband, where returns and network investments are prioritized.

By the end of 2026, non-pay-TV households are expected to surge to 80.7 million, outnumbering traditional pay-TV subscribers at 54.3 million — a milestone that would have seemed unthinkable just a decade ago. For the cable companies still standing, the math is now inescapable: the era of the cable bundle is ending, and the only real question left is how gracefully each operator manages its exit.

"It is the talk of the town today — the loud boom, the flash of light in the sky experienced by a lot of folks across the Houston area this afternoon," says a local Texas newscaster. "And then there was this — a home in northwest Harris county hit by something that crashed through their roof."

Travelling at very high speed, the six-pound meteorite crashed through their roof and through their attic, crashing again through the ceiling of the floor below. It then bounced off the floor, hit the ceiling again — and then fell onto the bed.

CBS News reports: NASA said in a social media post that the meteor became visible at 49 miles above Stagecoach, northwest of Houston, at 4:40 p.m. local time. The meteor moved southeast at 35,000 miles per hour, breaking apart 29 miles above Bammel, just west of Cypress Station, NASA said. "The fragmentation of the meteor — which weighed about a ton with a diameter of 3 feet — created a pressure wave that caused booms heard by some in the area," NASA said in the post. Across the Houston area, residents described hearing a low, rumbling sound that many compared to thunder, even though the skies were clear, according to CBS affiliate KHOU.

Earlier this week, an asteroid weighing about 7 tons and traveling at 45,000 mph traveled over multiple states. And last June, a bright meteor was seen across the southeastern U.S. and exploded over Georgia, creating similar booms heard by residents in the area.

Cloudflare's CEO predicts AI-driven bot traffic will surpass human internet traffic by 2027, as AI agents generate vastly more web requests than people. "If a human were doing a task -- let's say you were shopping for a digital camera -- and you might go to five websites. Your agent or the bot that's doing that will often go to 1,000 times the number of sites that an actual human would visit," Cloudflare CEO Matthew Prince said in an interview at SXSW this week. "So it might go to 5,000 sites. And that's real traffic, and that's real load, which everyone is having to deal with and take into account." TechCrunch reports: Before the generative AI era, the internet was only about 20% bot traffic, with Google's web crawler being the largest, according to Prince, whose infrastructure and security company is used by one-fifth of all websites. But beyond some other reputable crawlers, the only other bots were those used by scammers and bad actors. "With the rise of generative AI, and its just insatiable need for data, we're seeing a rise where we suspect that, in 2027, the amount of bot traffic online will exceed the amount of human traffic that's online," Prince said.

The executive also noted that this change to the web would require the development of new technologies, like sandboxes for AI agents that can be spun up on the fly and then torn down when their task has finished. These could come into play when consumers ask AI agents to perform certain tasks on their behalf, like planning a vacation. "What we're trying to think about is, how do we actually build that underlying infrastructure where you can -- as easily as you open a new tab in your browser -- you can actually spin up new code, which can then run and service the agents that are out there," Prince said. He imagines there will soon be a time when millions of these "sandboxes" for agents would be created every second. "I think the thing that people don't appreciate about AI is it's a platform shift," Prince said. "AI is another platform shift ... the way that you're going to consume information is completely different."

Longtime Slashdot reader UnknowingFool writes: Rapper Afroman, born Joseph Edgar Foreman, famous for his 2000 hit "Because I Got High", has won a defamation lawsuit that seven Ohio police offers filed against him. A jury found he did not defame the officers in music videos he made about a 2022 police raid of his home. In August 2022, Adams County Sheriff's Department raided Afroman's home on suspicion of drug trafficking and kidnapping. Neither drugs nor kidnapping victims were found, and charges were never filed. However, local officials would not pay for damages occurred during the raid including a broken front door and a video surveillance camera. Afroman used his home security footage of the raid to create music rap videos criticizing the police over the incident; "Will You Help Me Repair My Door?", "Why You Disconnecting My Video Camera?", and "Lemon Pound Cake". He posted the videos on YouTube.

In March 2023, seven officers filed a lawsuit against Afroman for invasion of privacy and the unauthorized use of their images from the security footage in addition to defamation claims. The officers requested an injunction for Afroman to stop speaking about them or using their photos. The officers also wanted all proceeds from the videos, song sales, performances, and merchandise claiming they had suffered "emotional distress" due to the videos. Afroman's defense included Freedom of Speech rights to criticize public officials. The ACLU filed an amicus brief supporting the rapper, arguing that the lawsuit was a SLAPP suit only meant to silence criticism. In October 2023, the court agreed and dismissed the invasion of privacy, "right of publicity", and "unauthorized use of individual's persona" claims but allowed the defamation case to proceed.

Defamation claims by the officers included the allegation Afroman repeatedly had sex with the wife of Randolph L. Walters, Jr. When Afroman's lawyer asked Walters "But we all know that's not true, right?", the officer replied he did not know. Defamation from emotional damages requires that harm arise from a false statement; however, if a statement is so outrageous that no one would believe it to be true, then reputational damage cannot be a result.

Longtime Slashdot reader UnknowingFool writes: Users of Samsung PCs are reporting the inability to access the C: drive after the Windows 11 February update. The bug seems to be in connection with the Samsung Galaxy Connect app, which allows Samsung phones and tablets to connect to Windows machines. [A previous stable version of the app has been re-released to prevent this problem from spreading.] This parody explains the situation with humor. The issue stems from update KB5077181 and is impacting Samsung PCs running Windows 11 25H2 or 24H2. Microsoft and Samsung have confirmed the issue and published a workaround, but as PCWorld notes, it will take some time. The workaround "requires removing the Samsung application, then asking Windows to repair the drive permissions and assigning a new owner, then restoring the Windows default permissions, including patching in some custom code that Microsoft wrote."

An anonymous reader quotes a report from Ars Technica: Musi, a free music streaming app that had tens of millions of iPhone downloads and garnered plenty of controversy over its method of acquiring music, has lost an attempt to get back on Apple's App Store. A federal judge dismissed Musi's lawsuit against Apple with prejudice and sanctioned Musi's lawyers for "mak[ing] up facts to fill the perceived gaps in Musi's case."

Musi built a streaming service without striking its own deals with copyright holders. It did so by playing music from YouTube, writing in its 2024 lawsuit against Apple that "the Musi app plays or displays content based on the user's own interactions with YouTube and enhances the user experience via Musi's proprietary technology." Musi's app displayed its own ads but let users remove them for a one-time fee of $5.99. Musi claimed it complied with YouTube's terms, but Apple removed it from the App Store in September 2024. Musi does not offer an Android app. Musi alleged that Apple delisted its app based on "unsubstantiated" intellectual property claims from YouTube and that Apple violated its own Developer Program License Agreement (DPLA) by delisting the app.

Musi was handed a resounding defeat yesterday in two rulings from US District Judge Eumi Lee in the Northern District of California. Lee found that Apple can remove apps "with or without cause," as stipulated in the developer agreement. Lee wrote (PDF): "The plain language of the DPLA governs because it is clear and explicit: Apple may 'cease marketing, offering, and allowing download by end-users of the [Musi app] at any time, with or without cause, by providing notice of termination.' Based on this language, Apple had the right to cease offering the Musi app without cause if Apple provided notice to Musi. The complaint alleges, and Musi does not dispute, that Apple gave Musi the required notice. Therefore, Apple's decision to remove the Musi app from the App Store did not breach the DPLA."

Kyle Orland writes via Ars Technica: Since deep-learning super-sampling (DLSS) launched on 2018's RTX 2080 cards, gamers have been generally bullish on the technology as a way to effectively use machine-learning upscaling techniques to increase resolutions or juice frame rates in games. With yesterday's tease of the upcoming DLSS 5, though, Nvidia has crossed a line from mere upscaling into complete lighting and texture overhauls influenced by "generative AI." The result is a bland, uncanny gloss that has received an instant and overwhelmingly negative reaction from large swaths of gamers and the industry at large.

While previous DLSS releases rendered upscaled frames or created entirely new ones to smooth out gaps, Nvidia calls DLSS 5 -- which it plans to launch in Autumn -- "a real-time neural rendering model" that can "deliver a new level of photoreal computer graphics previously only achieved in Hollywood visual effects." Nvidia CEO Jensen Huang said explicitly that the technology melds "generative AI" with "handcrafted rendering" for "a dramatic leap in visual realism while preserving the control artists need for creative expression."

Unlike existing generative video models, which Nvidia notes are "difficult to precisely control and often lack predictability," DLSS 5 uses a game's internal color and motion vectors "to infuse the scene with photoreal lighting and materials that are anchored to source 3D content and consistent from frame to frame." That underlying game data helps the system "understand complex scene semantics such as characters, hair, fabric and translucent skin, along with environmental lighting conditions like front-lit, back-lit or overcast," the company says. Nvidia's announcement video and detailed Digital Foundry breakdown can be found at their respective links.

"Reactions have compared the effect to air-brushed pornography, 'yassified, looks-maxed freaks,' or those uncanny, unavoidable Evony ads," writes Orland. "Others have noted how DLSS 5 seems to mangle the intended art direction by dampening shadows in favor of a homogenized look."

Thomas Was Alone developer Mike Bithell said the technology seems designed "for when you absolutely, positively, don't want any art direction in your gaming experience."

Gunfire Games Senior Concept Artist Jeff Talbot added that "in every shot the art direction was taken away for the senseless addition of 'details.' Each DLSS 5 shot looked worse and had less character than the original. This is just a garbage AI Filter."

DLSS 5's "AI dogshit is actually depressing," said New Blood Interactive founder and CEO Dave Oshry, adding that future generations "won't even know this looks 'bad' or 'wrong' because to them it'll be normal."

"Emerging evidence indicates that agential AI might validate or amplify delusional or grandiose content, particularly in users already vulnerable to psychosis," writes Dr Hamilton Morrin, a psychiatrist and researcher at King's College in London, in a paper published last week in the Lancet Psychiatry. Morrin and a colleague had already noticed patients "using large language model AI chatbots and having them validate their delusional beliefs," reports the Guardian, so he conducted a new scientific review of existing media reports on AI-induced psychosis — and concluded chatbots may encourage delusional thinking, especially in vulnerable people: In many of the cases in the essay, chatbots responded to users with mystical language to suggest that users have heightened spiritual importance. The bots also implied that users were speaking with a cosmic being who was using the chatbot as a medium. This type of mystical, sycophantic response was especially common in OpenAI's GPT 4 model, which the company has now retired...

Many researchers also think it's unlikely that AI could induce delusions in people who weren't already vulnerable to them. For this reason, Morrin said "AI-assocciated delusions" is "perhaps a more agnostic term".... While in the past, people may have had to comb through YouTube videos or the contents of their local library to reinforce their delusions, chatbots can provide that reinforcement in a much faster, more concentrated dose. Their interactive nature can also "speed up the process", of exacerbating psychotic symptoms, said Dr Dominic Oliver, a researcher at the University of Oxford. "You have something talking back to you and engaging with you and trying to build a relationship with you," Oliver said...

Creating effective safeguards for delusional thinking could be tricky, Morrin said, because "when you work with people with beliefs of delusional intensity, if you directly challenge someone and tell them immediately that they're completely wrong, actually what's most likely is they'll withdraw from you and become more socially isolated". Instead, it's important to create a fine balance where you try to understand the source of the delusional belief without encouraging it — that could be more than a chatbot can master.

Wikipedia describes Freenet as "a peer-to-peer platform for censorship-resistant, anonymous communication," released in the year 2000. "Both Freenet and some of its associated tools were originally designed by Ian Clarke," Wikipedia adds. (And in 2000 Clarke answered questions from Slashdot's readers...)

And now Ian Clarke (aka Sanity — Slashdot reader #1,431) returns to share this announcement: Freenet's new generation peer-to-peer network is now operational, along with the first application built on the network: a decentralized group chat system called River.

The new version is a complete redesign of the original project, focusing on real-time decentralized applications rather than static content distribution. Applications run as WebAssembly-based contracts across a small-world peer network, allowing software to operate directly on the network without centralized infrastructure.

An introductory video demonstrating the system is available on YouTube.
"While the original Freenet was like a decentralized hard drive, the new Freenet is like a full decentralized computer," Clarke wrote in 2023, "allowing the creation of entirely decentralized services like messaging, group chat, search, social networking, among others... designed for efficiency, flexibility, and transparency to the end user."

"Freenet 2023 can be used seamlessly through your web browser, providing an experience that feels just like using the traditional web,"

"Just the anachronism of seeing Doom, one of the poster children for the moral panic around violent video games, on a Nintendo console is novel," writes Kotaku — especially with the console's underpowered "Super FX" coprocessor Hampered by a nearly unplayable framerate, especially in later levels, and mired by sacrifices, like altered levels, no floor or ceiling textures, and the entire fourth episode being cut, [1995's] Doom on the Super NES was not a good version of the game, but it was Doom running on the Super NES, and, for that alone, [programmer Randal] Linden's genius deserves recognition.
But then in 2022 when Audi Sorlie interviewed Linden on the YouTube show DF Retro, "Not really knowing where fate was going to take us, I asked [Linden] a throwaway question regarding the source code for Doom." If you ever worked on this again, Sorlie asked, would you make any improvements or do anything differently?"

"Yeah," Linden replied. "I have plenty of ideas if I could go back, but, you know, I don't think anyone's asking me to go back to Super Nintendo Doom and improve it."

A few years passed, and Sorlie joined Limited Run Games as lead producer for their development department. When LRG asked him to run down his craziest ideas, a new, improved release of Randal Linden's Doom loomed large. Convincing Linden was easy, and Sorlie said even the folks at license holder Bethesda were more amused than anything.

"You want to go back and develop for Super Nintendo?" they asked Sorlie. "Like, for real...?"

"The trick was actually pretty cool," Linden said. "It's right here." He pointed to a chip on the prototype SNES cartridge, similar to the one Limited Run sent me to test out the game. "It's a Raspberry Pi 2350." Super FX chips are no longer in production for obvious reasons, but with a clever bit of programming, Linden was able to load software onto the Raspberry Pi that fools the SNES into thinking the game has one. "The Super Nintendo doesn't know that it's not talking to a Super FX," he explained. When he programs for it, he writes code almost identical to what he'd write for an authentic Super FX chip.

"I had to go back and reverse-engineer my own code from 30 years ago," Linden laughed. "It's like, what was I doing here? And what was I doing there? Yeah, it was pretty tricky, some of the code. I was like, wow, I used to be very smart." The result of Linden's work? It's Doom, running right on a Super Nintendo, but it's smoother, packed with new content, and even includes rumble.

"The new MacBook Air and MacBook Pro models feature a keyboard change," reports MacRumors: On the U.S. English version of the new MacBook Air and MacBook Pro keyboards, the tab, caps lock, shift, return, and delete keycaps now have glyphs on them. On previous-generation models, these keys are labeled with text instead... Given the U.S. English keyboard layout is the default option for MacBook Air, MacBook Pro, and MacBook Neo models sold in Canada, Australia, New Zealand, and Singapore, this change effectively extends to those countries and a few others.
"Apple already uses glyph-based key labels on several European keyboard layouts," notes The Mac Observer, "including British English versions of the MacBook. Because of this, the design will feel familiar to many users outside the United States."

The change was noticed last week by Chicago-based X.com/YouTube user "Mr. Macintosh", who makes how-to videos about now and old Macs.

YouTube is expanding its AI deepfake detection tools to a pilot group of politicians, government officials, and journalists, allowing them to identify and request removal of unauthorized AI-generated videos impersonating them. TechCrunch reports: The technology itself launched last year to roughly 4 million YouTube creators in the YouTube Partner Program, following earlier tests. Similar to YouTube's existing Content ID system, which detects copyright-protected material in users' uploaded videos, the likeness detection feature looks for simulated faces made with AI tools. These tools are sometimes used to try to spread misinformation and manipulate people's perception of reality, as they leverage the deepfaked personas of notable figures -- like politicians or other government officials -- to say and do things in these AI videos that they didn't in real life.

With the new pilot program, YouTube aims to balance users' free expression with the risks associated with AI technology that can generate a convincing likeness of a public figure. [...] [Leslie Miller, YouTube's vice president of Government Affairs and Public Policy] explained that not all of the detected matches would be removed when requested. Instead, YouTube would evaluate each request under its existing privacy policy guidelines to determine whether the content is parody or political critique, which are protected forms of free expression. The company noted it's advocating for these protections at a federal level, too, with its support for the NO FAKES Act in D.C., which would regulate the use of AI to create unauthorized recreations of an individual's voice and visual likeness.

To use the new tool, eligible pilot testers must first prove their identity by uploading a selfie and a government ID. They can then create a profile, view the matches that show up, and optionally request their removal. YouTube says it plans to eventually give people the ability to prevent uploads of violating content before they go live or, possibly, allow them to monetize those videos, similar to how its Content ID system works. The company would not confirm which politicians or officials would be among its initial testers, but said the goal is to make the technology broadly available over time.

Since 1999, Slashdot has been covering the annual Ig Nobel prize ceremonies -- which honor real scientific research into strange or surprising subjects. "After 35 years in Boston, the annual prize ceremony will take place in Zurich, Switzerland, this year and will continue to be held in a European city for the foreseeable future," reports Ars Technica. "The reason: concerns about the safety of international travelers, who are increasingly reluctant to travel to the U.S. to participate."

"During the past year, it has become unsafe for our guests to visit the country," Marc Abrahams, master of ceremonies and editor of The Annals of Improbable Research magazine, told The Associated Press. "We cannot in good conscience ask the new winners, or the international journalists who cover the event, to travel to the U.S. this year." It comes on the heels of our recent story that many international game developers are opting to skip this year's weeklong Game Developers Conference in San Francisco, citing similar concerns. Ars Technica reports: Established in 1991, the Ig Nobels are a good-natured parody of the Nobel Prizes; they honor "achievements that first make people laugh and then make them think." As the motto implies, the research being honored might seem ridiculous at first glance, but that doesn't mean it's devoid of scientific merit. The unapologetically campy awards ceremony features miniature operas, scientific demos, and the 24/7 lectures, in which experts must explain their work twice: once in 24 seconds and again in just seven words.

Traditionally, the awards ceremony and related Ig Nobel events have taken place in Boston at Harvard University, Massachusetts Institute of Technology, and Boston University. However, four of last year's 10 winners opted to skip the ceremony rather than travel to the U.S., and the situation has not improved. [...] [T]his year, the Ig Nobel organizers are joining forces with the ETH Domain and the University of Zurich for hosting duties. "Switzerland has nurtured many unexpected good things -- Albert Einstein's physics, the world economy, and the cuckoo clock leap to mind -- and is again helping the world appreciate improbable people and ideas," Abraham said.

The Ig Nobels will not be returning to the U.S. any time soon. Instead, the plan is for Zurich to host every second year; every odd-numbered year, the ceremony will be hosted by a different European city. Abraham likened the arrangement to the Eurovision Song Contest.

Steven Spielberg directed his last Jurassic Park movie nearly 30 years ago, notes ScreenRant. But the 79-year-old filmmaker now brings us The Dinosaurs, a four-part documentary on Netflix where he's executive producer: The first few reviews are in, and the results lead to a perfect 100% score on Rotten Tomatoes. It's worth noting that the rating will likely fluctuate since there are only six reviews. So far, critics all agree that the new Netflix docuseries is a breathtaking visual of history's most majestic creatures, and Morgan Freeman's soothing narration elevates the experience. Most importantly, the reviews note that the story is intimate, making the dinosaurs feel real with their personalities.
"Audience" reviewers gave it a lower score of 67%.

• "There is a sense of drama and emotional weight which permeates through the entire series as it tells the story of the dinosaurs from start to the present day. The ending brought tears to my eyes..."

• "Wow, what a sleeper! Flat graphics, looks like video game animations. Unrelatable story lines. Don't waste your time. Honestly would you even look twice if Spielberg's name wasn't on it?"

• "This show was honestly incredible... It was a 10/10 series that I absolutely adored highly recommended to anyone who loves and has an interest of the ancient world."

• "I'm sorry, but the dinos of Prehistoric Planet are far superior, and were achieved on a much smaller budget. Their dinos look absolutely real, and you are convinced you're watching a documentary with real animals"

ScreenRant notes Netflix's debut of The Dinosaurs' "aligns perfectly" with the arrival of all four Jurassic World movies on Netflix, where they're already dominating Netflix's "Top 10" charts for the U.S.

"Witness the rise and the fall of nature's greatest empire," narrator Morgan Freeman says in the trailer...

Indonesia will ban children under 16 from having accounts on major social media platforms as part of a government push to protect minors from harmful content, addiction, and online threats. The rule will roll out starting March 28 and makes Indonesia the first country in Southeast Asia to impose such a restriction. The Guardian reports: Meutya Hafid said in a statement to media said that she signed a government regulation that will mean children under the age of 16 can no longer have accounts on high-risk digital platforms, including YouTube, TikTok, Facebook, Instagram, Threads, X, Roblox and Bigo Live, a popular livestreaming site. With a population of about 285 million, the fourth-highest in the world, the south-east Asian nation represents a significant market for social networks.

The implementation will start gradually from 28 March, until all platforms fulfill their compliance obligations. "The basis is clear. Our children face increasingly real threats. From exposure to pornography, cyberbullying, online fraud, and most importantly addiction. The government is here so that parents no longer have to fight alone against the giant of algorithms," Hafid said.

She added that the government is taking this step as the best effort in the midst of a digital emergency to reclaim sovereignty over children's futures. "We realize that the implementation of this regulation may cause some discomfort at first. Children may complain and parents may be confused about how to respond to their children's complaints," Hafid said.