BrianFagioli writes: Opera GX has officially landed on Linux, bringing its gamer-focused browser experience to Debian, Ubuntu, Fedora, and openSUSE-based systems. The browser includes GX Control for limiting RAM and network usage, a Hot Tabs Killer to shut down resource-heavy tabs, and built-in sidebar integrations for Discord and Twitch. Opera says this is not just a one-off port, but a long-term effort with ongoing updates and community engagement. "PC gaming has long been associated with a single dominant platform, but that's changing," says Maciej Kocemba, Product Director at Opera GX. "Bringing GX to Linux users -- who are renowned for the control they like to exert over their tools -- means gamers and developers can manage browser resources, customize their setup, and keep their system performing exactly the way they want."

Cord Cutters News reports: In a move that has delighted fans of classic science fiction, Warner Bros. Discovery has begun uploading full episodes of the iconic series Babylon 5 to YouTube, providing free access to the show just as it departs from the ad-supported streaming platform Tubi... Viewers noticed notifications on Tubi indicating that all five seasons would no longer be available after February 10, 2026, effectively removing one of the most accessible free streaming options for the space opera. With this shift, Warner Bros. Discovery appears to be steering the property toward its own digital ecosystem, leveraging YouTube's vast audience to reintroduce the show to both longtime enthusiasts and a new generation.

The uploads started with the pilot episode, "The Gathering," which serves as the entry point to the series' intricate universe. This was followed by subsequent episodes such as "Midnight on the Firing Line" and "Soul Hunter," released in sequence to build narrative momentum. [Though episodes 2 and 3 are mis-labeled as #3 and #4...] The strategy involves posting one episode each week, allowing audiences to experience the story at a paced rhythm that mirrors the original broadcast schedule...

For Warner Bros. Discovery, this initiative could signal plans to expand the franchise's visibility, especially amid ongoing interest in reboots and spin-offs that have been rumored in recent years.
Babylon 5 creator J. Michael Straczynski answered questions from Slashdot's readers in 2014.

Long-time Slashdot reader sandbagger offers this summary of the show "for those not in the know... In the mid-23rd century, the Earth Alliance space station Babylon Five, located in neutral territory, is a major focal point for political intrigue, racial tensions, and a major war as Earth descends into fascism and cuts off relations with its allies."

The Mozilla executive in charge of Firefox says that while some people just want AI tools that are genuinely useful, "We've heard from many who want nothing to do with AI..."

"Listening to our community, alongside our ongoing commitment to offer choice, led us to build AI controls." Starting with Firefox 148, which rolls out on Feb. 24, you'll find a new AI controls section within the desktop browser settings. It provides a single place to block current and future generative AI features in Firefox... This lets you use Firefox without AI while we continue to build AI features for those who want them...

At launch, AI controls let you manage these features individually:

— Translations, which help you browse the web in your preferred language.
— Alt text in PDFs, which add accessibility descriptions to images in PDF pages.
— AI-enhanced tab grouping, which suggests related tabs and group names.
— Link previews, which show key points before you open a link.
— AI chatbot in the sidebar, which lets you use your chosen chatbot as you browse, including options like Anthropic Claude, ChatGPT, Microsoft Copilot, Google Gemini and Le Chat Mistral.

You can choose to use some of these and not others. If you don't want to use AI features from Firefox at all, you can turn on the Block AI enhancements toggle. When it's toggled on, you won't see pop-ups or reminders to use existing or upcoming AI features. Once you set your AI preferences in Firefox, they stay in place across updates... We believe choice is more important than ever as AI becomes a part of people's browsing experiences. What matters to us is giving people control, no matter how they feel about AI.

If you'd like to try AI controls early, they'll be available first in Firefox Nightly.
Some context from The Register It's a refreshingly unsubtle stance, and one that lands just days after a similar bout of AI skepticism elsewhere in browser land, with Vivaldi's latest release leaning away from generative features entirely. CEO Jon von Tetzchner summed up the mood, telling The Register: "Basically, what we are finding is that people hate AI..." Mozilla's kill switch isn't the end of AI in browsers, but it does suggest the hype has met resistance.
When it comes to AI kill switches in browsers, Jack Wallen writes at ZDNet that "Most browsers already offer this feature. With Edge, you can disable Copilot. With Chrome, you can disable Gemini. With Opera, you can disable Aria...."

An anonymous reader quotes a report from Cyber Press: A newly uncovered Chinese threat group, DarkSpectre, has been linked to one of the most widespread browser-extension malware operations to date, compromising more than 8.8 million users of Chrome, Edge, Firefox, and Opera over the past seven years. According to research by Koi.ai, the group operates three interconnected campaigns: ShadyPanda, GhostPoster, and a newly identified one named The Zoom Stealer, forming a single, strategically organized operation.

DarkSpectre's structure differs from that of ordinary cybercrime operations. The group runs separate but interconnected malware clusters, each with distinct goals. The ShadyPanda campaign, responsible for 5.6 million infections, focuses on long-term user surveillance and e-commerce affiliate fraud. Its extensions have appeared legitimate for years, offering new tab pages and translation utilities, before secretly downloading malicious configurations from command-and-control servers such as jt2x.com and infinitynewtab.com. Once activated, they inject remote scripts, hijack search results, and track browsing activity.

The second campaign, GhostPoster, spreads via Firefox and Opera extensions that conceal malicious payloads in PNG images via steganography. After lying dormant for several days, the extensions extract and execute JavaScript hidden within images, enabling stealthy remote code execution. This campaign has affected over one million users and relies on domains like gmzdaily.com and mitarchive.info for payload delivery.

The most recent discovery, The Zoom Stealer, exposes around 2.2 million users to corporate espionage. These extensions masquerade as productivity tools or video downloaders while secretly harvesting corporate meeting links, credentials, and speaker profiles from more than 28 video conferencing platforms, including Zoom, Microsoft Teams, and Google Meet. The extensions use real-time WebSocket connections to exfiltrate data to Firebase databases, such as zoocorder.firebaseio.com, and to Google Cloud functions, such as webinarstvus.cloudfunctions.net.

Opera has opened its AI-powered browser Neon to the public after a couple of months of testing, and anyone interested in trying it will need to pay $19.90 per month. The Norway-based company first unveiled Neon in May and launched it in early access to select users in October. Like Perplexity's Comet, OpenAI's Atlas, and The Browser Company's Dia, Neon bakes an AI chatbot into its interface that can answer questions about pages, create mini apps and videos, and perform tasks. The browser uses your browsing history as context, so you can ask it to fetch details from a YouTube video you watched last week. The subscription also grants access to AI models including Gemini 3 Pro and GPT-5.1.

An anonymous reader shared this report from PC World: It won't whip the llama's ass, but Opera has added a Spotify visualizer to its latest iteration of its free Opera One browser. Known as Sonic, the visualizer will be part of Opera's Dynamic Themes, which use the WebGPU standard to employ a dynamic theme that runs in the background of the browser. It's essentially a shader, which uses your PC's graphics engine to generate the moving background.

The browser also comes with a music player, which is set to Spotify by default. Users will have an opportunity to upgrade to Spotify Premium as part of the browser upgrade, Opera said. Opera's Sonic theme... takes the Spotify input and transforms it into a dynamic background.
"As any old tech head knows, the original visualizer was found in Winamp, which would sync visualizations to the beat and flow of music being played," the article points out.

And 27 years later, WinAmp arrived as an app in Apple's App Store and Google Play and in April of 2024. (The latest version was apparently released this May — and you can also download it to your desktop...)

Somewhere along the way, Winamp also announced "Winamp for Creators," which they're describing as a dedicated platform for music artists with monetization and promotion tools, music management services, and other essential resources "to help creators take control of their careers" (including "a powerful social media publishing tool that lets users write a single post and push it to all their social media channels simultaneously.")

An anonymous reader quotes a report from Ars Technica: Today, Samsung provided details about the next version of the HDR10 format, which introduces six new features. Among HDR10+ Advanced's most interesting features is HDR10+ Intelligent FRC (frame rate conversion), which is supposed to improve motion smoothing.

A TV using motion smoothing analyzes each video frame and tries to determine what additional frames would look like if the video were playing at a frame rate that matched the TV's refresh rate. The TV then inserts those frames into the video. A 60Hz TV with motion smoothing on, for example, would attempt to remove judder from a 24p film by inserting frames so that the video plays as if it were shot at 60p. For some, this appears normal and can make motion, especially camera panning or zooming, look smoother. However, others will report movies and shows that look more like soap operas, or as if they were shot on higher-speed video cameras instead of film cameras. Critics, including some big names in Hollywood, argue that motion smoothing looks unnatural and deviates from the creator's intended vision.

Intelligent FRC takes a more nuanced approach to motion smoothing by letting content creators dictate the level of motion smoothing used in each scene, Forbes reported. The feature is also designed to adjust the strength of motion interpolation based on ambient lighting.

A critical security flaw in Chromium's Blink rendering engine can crash billions of browsers within seconds. Security researcher Jose Pino discovered the vulnerability and created a proof-of-concept exploit called Brash to demonstrate the bug affecting Chrome, Edge, OpenAI's ChatGPT Atlas, Brave, Vivaldi, Arc, Dia, Opera and Perplexity Comet.

The flaw, reports The Register, exploits the absence of rate limiting on document.title API updates in Chromium versions 143.0.7483.0 and later. The attack injects millions of DOM mutations per second and saturates the main thread. When The Register tested the code on Edge, the browser crashed and the Windows machine locked up after about 30 seconds while consuming 18GB of RAM in one tab. Pino disclosed the bug to the Chromium security team on August 28 and followed up on August 30 but received no response. Google said it is looking into the issue.

"Earlier available only to the paying subscribers, the Comet browser now offers its core features to all users at no cost," writes the Times of India. "This includes AI-powered search, contextual recommendations, and integrated tools designed to streamline research and content discovery." They say the move reflects the Chromium-based browser's goal to "compete with incumbents like Google Chrome and Microsoft Edge" — but also reflects Perplexity's "broader mission to democratize AI tools."
More details from The Verge: The internet is better on Comet," the company says, promising to remain free forever as it styles the browser as a serious challenger to Google's Chrome...

It's supposed to make surfing the web simpler and help you with tasks like shopping, booking trips, and general life admin. To borrow the company's words again: you "get more done." The AI-powered browser launched in July, though was only available for users who subscribed to the $200 per month Perplexity Max plan... No subscription at all will be needed to use Comet going forward, the company says.
Perplexity has even struck deals with major sites including the Washington Post, and the Los Angeles Times to offer free access to their sites for one month through the Comet browser. And last week Perplexity also launched an agressive paid referral program, where active Perplexity Pro/Max subscribers get a payout of up to $15 for each friend who downloads and uses Comet through their affiliate link. (The payout size is based on the friend's country, with $15 being the payout amount for a U.S. user, with $10 payouts for users in 19 other countries include Canada, Australia, the U.K., several EU countries, Japan, and South Korea.

In addition, Srinivas has been sharing positive tweets about Comet. (Like "This is unbelievable. Comet automatically hunts down Sora 2 invite codes across the web and signs you up!") But Perplexity is making even bigger claims for its browser: Perplexity AI CEO Aravind Srinivas said that the Comet AI browser can improve productivity so that companies won't need to hire more people. "Instead of hiring one more person on your team, you could just use Comet to supplement all the work that you're doing," Srinivas told CNBC's "Squawk Box"... The CEO said the artificial intelligence-powered web browser is a "true personal assistant" that allows users to complete more tasks in the same amount of time and said that the productivity gained could be worth $10,000 per year for a single person...

Other tech companies have also been rolling out their own AI browser assistants. In January, OpenAI introduced its web agent, Operator, and Google released Gemini AI to its Chrome browser in September.
Meanwhile, The Verge adds, The Browser Company (makers of the Arc browser) "is going all in on Dia, and Opera just launched its own AI browser, Neon."

Of course, popularity brings problems, writes the Times of India: iPhone users are being warned by Perplexity CEO Aravind Srinivas against downloading a fake 'Comet' app on the App Store. He clarified that the official iOS version is not yet released and the current listing is unauthorized spam..
And earlier this month the browser security platform LayerX described a "CometJacking" attack where malicious prompts could be hidden in URLs (as a parameter). Comet is instructed "to look for data in memory and connected services (e.g., Gmail, Calendar), encode the results (e.g., base64), and POST them to an attacker-controlled endpoint... all while appearing to the user as a harmless 'ask the assistant' flow." (And with some trivial encoding it also seems to evade exfiltration checks.)

The Hacker News reported that Perplexity has classified the findings as "no security impact."

Jason Allen has responded to critics who say he is not an artist by filing a new brief and announcing plans to sell oil-print reproductions of his AI-generated image. Allen won the Colorado State Fair Fine Arts Competition in 2022 after submitting Theatre D'opera Spatial, which Midjourney created. He said in a press release that being called an artist does not concern him but his work and expression do.

Allen says he asked himself what could make the piece undeniably art and decided to create physical reproductions using technology. The reproductions employ a three-dimensional printing technique from a company called Arius that uses oil paints to simulate brushstrokes. Allen said the physical artifact is singular and real. His legal filing argues that he produced the artwork by providing hundreds of iterative text prompts to Midjourney and experimenting with over six hundred prompts before cropping and upscaling the final image. The U.S. Copyright Office has rejected his copyright applications for three years. The office maintains that Midjourney does not treat text prompts as direct instructions.

There's an 85-second ad (starring a humanoid robot) that argues "Technology promised to save us time. Instead it stole our focus. Opera Neon gives you both back."

Or, as BleepingComputer describes it, Opera Neon "is a new browser that puts AI in control of your tabs and browsing activities, but it'll cost $19.90 per month." It'll do tasks for you, open websites for you, manage tabs for you, and listen to you. The idea behind these agentic browsers is to put AI in control. "Neon acts at your command, opening tabs, conducting research, finding the best prices, assessing security, whatever you need. It delivers outcomes you can use, share, and build on," Opera noted...

As spotted on X, Opera Neon, the premium AI browser for Windows & macOS, costs $59.90 for nine months. Opera neon invite. This is an early bird offer, but when the offer expires, Opera Neon will cost $19.90 per month.
The browser's web page says Opera Neon "can handle everyday tasks for you, like filling in forms, placing orders, replying to emails, or tidying up files. Reusable cards turn repeated chores into single-step tasks, letting you focus on the work that matters most to you."

Opera describes itself as "the company that gave you tabs..."

Chrome has extended its dominance in the browser wars, surpassing 70% market share on desktops while Edge, Safari, Firefox, and Opera trail far behind. Neowin reports: According to [Statcounter], in August 2025, Chrome kept on increasing its overwhelming market share, which is now above the 70% mark (70.25%, to be precise) in the desktop browser market. The gap between Chrome and its closest competitor, Microsoft Edge, is immense, with Edge holding just 11.8% (+0.01 points over the previous month). Apple's Safari is third with 6.34% (+1.04 points); Firefox has 4.94% (-0.36 points); and Opera is fifth with a modest 2.06% market share (-0.13 points).

Things look similar on the mobile side of the market, with Google Chrome having 69.15% (+1.92 points) and Safari being second with 20.32% (-2.2 points). Samsung Internet is third with 3.33% (-0.17 points). As for Microsoft Edge, its mobile share is only 0.59% (+0.06 points). The findings can be found here.

Opera will file a complaint against Microsoft to Brazilian antitrust authority CADE on Tuesday, alleging the tech giant gives its Edge browser an unfair advantage over competitors. Opera claims Microsoft pre-installs Edge as the default browser across Windows devices and prevents rivals from competing on product merits.

The company's general counsel Aaron McParlan said Microsoft locks browsers like Opera out of preinstallation opportunities and frustrates users' ability to download alternative browsers. Opera, which says it is Brazil's third-most popular PC browser, wants CADE to investigate Microsoft and demand concessions to ensure fair competition.

"When Disneyland turns 70 this July, Main Street's Opera House will play host to the return of Walt Disney, who will sit down with audiences to tell his story in robot form," writes Gizmodo.

But they point out Walt's granddaughter Johanna Miller wrote a Facebook post opposing the idea in November. ("They are Dehumanizing him. People are not replaceable...") The idea of a Robotic Grampa to give the public a feeling of who the living man was just makes no sense. It would be an imposter... You could never get the casual ness of his talking interacting with the camera his excitement to show and tell people about what is new at the park.

You can not add life to one. Empty of a soul or essence of the man. Knowing that he did not want this. Having your predecessors tell you that this was out of bounds.... So so Sad and disappointed.
The Facebook post claims that the son of a Disney engineer even remembers Walt saying that he never wanted to be an animatronic himself. And "Members of the Walt Disney family are said to be divided," reports the Los Angeles Times, "with many supporting the animatronic and some others against it, say those in the know who have declined to speak on the record for fear of ruining their relationships."

So that Facebook post "raised anew ethical questions that often surround any project attempting to capture the dead via technology," their article adds, "be it holographic representations of performers or digitally re-created cinematic animations. And then some media outlets got a partial preview Wednesday, the Los Angeles Times reports: An early sculpt of what would become the animatronic was revealed, one complete with age spots on Disney's hands and weariness around his eyes — Imagineers stressed their intent is faithful accuracy — but much of the attraction remains secretive. The animatronic wasn't shown, nor did Imagineering provide any images of the figure, which it promises will be one of its most technically advanced. Instead, Imagineering sought to show the care in which it was bringing Disney back to life while also attempting to assuage any fears regarding what has become a much-debated project among the Disney community...

Longtime Imagineer Tom Fitzgerald, known for his work on beloved Disney projects such as Star Tours and the Guardians of the Galaxy coaster in Florida, said Wednesday that "A Magical Life" has been in the works for about seven years. Asked directly about ethical concerns in representing the deceased via a robotic figurine, Fitzgerald noted the importance of the Walt Disney story, not only to the company but to culture at large... "What could we do at Disneyland for our audience that would be part of our tool kit vernacular but that would bring Walt to life in a way that you could only experience at the park? We felt the technology had gotten there. We felt there was a need to tell that story in a fresh way...."

"Walt Disney — A Magical Life" will walk a fine line when it opens, attempting to inspire a new generation to look into Disney's life while also portraying him as more than just a character in the park's arsenal. "Why are we doing this now?" Fitzgerald says. "For two reasons. One is Disneyland's 70th anniversary is an ideal time we thought to create a permanent tribute to Walt Disney in the Opera House. The other: I grew up watching Walt Disney on television. I guess I'm the old man. He came into our living room every week and chatted and it was very casual and you felt like you knew the man. But a lot of people today don't know Walt Disney was an individual. They think Walt Disney is a company."

And now nearly 60 years after his death, Disney will once again grace Main Street, whether or not audiences — or even some members of his family — are ready to greet him.

"The third James Bond novel was published on this day in 1955," writes long-time Slashdot reader sandbagger. Film buff Christian Petrozza shares some history: In 1979, the market was hot amid the studios to make the next big space opera. Star Wars blew up the box office in 1977 with Alien soon following and while audiences eagerly awaited the next installment of George Lucas' The Empire Strikes Back, Hollywood was buzzing with spacesuits, lasers, and ships that cruised the stars. Politically, the Cold War between the United States and Russia was still a hot topic, with the James Bond franchise fanning the flames in the media entertainment sector. Moon missions had just finished their run in the early 70s and the space race was still generationally fresh. With all this in mind, as well as the successful run of Roger Moore's fun and campy Bond, the time seemed ripe to boldly take the globe-trotting Bond where no spy has gone before.

Thus, 1979's Moonraker blasted off to theatres, full of chrome space-suits, laser guns, and jetpacks, the franchise went full-boar science fiction to keep up with the Joneses of current Hollywood's hottest genre. The film was a commercial smash hit, grossing 210 million worldwide. Despite some mixed reviews from critics, audiences seemed jazzed about seeing James Bond in space.

When it comes to adaptations of the novella that Ian Fleming wrote of the same name, Moonraker couldn't be farther from its source material, and may as well be renamed completely to avoid any association... Ian Fleming's original Moonraker was more of a post-war commentary on the domestic fears of modern weapons being turned on Europe by enemies who were hired for science by newer foes. With Nazi scientists being hired by both the U.S. and Russia to build weapons of mass destruction after World War II, this was less of a Sci-Fi and much more of a cautionary tale.
They argue that filming a new version of Moonraker could "find a happy medium between the glamor and the grit of the James Bond franchise..."

king*jojo shares a report from The Register: The Opera web browser now boasts "agentic AI," meaning users can ask an onboard AI model to perform tasks that require a series of in-browser actions. The AI agent, referred to as the Browser Operator, can, for example, find 12 pairs of men's size 10 Nike socks that you can buy. This is demonstrated in an Opera-made video of the process, running intermittently at 6x time, which shows the user has to type out the request for the undergarments rather than click around some webpages.

The AI, in the given example, works its way through eight steps in its browser chat sidebar, clicking and navigating on your behalf in the web display pane, to arrive at a Walmart checkout page with two six-packs of socks added to the user's shopping cart, ready for payment. [...] Other tasks such as finding specific concert tickets and booking flight tickets from Oslo to Newcastle are also depicted, accelerated at times from 4x to 10x, with the user left to authorize the actual purchase. Browser Operator runs more slowly than shown in the video, though that's actually helpful for a semi-capable assistant. A more casual pace allows the user to intervene at any point and take over.

The Cleveland Review of Books ponders a new 697-page hardcover collection of American poet/author Kevin Killian's.... reviews from Amazon. (Over 2,000 of 'em — written over the course of 16 years.)
In 2012, he wrote three substantial paragraphs about the culinary perfection that can be found in a German Potato Salad Can (15 oz., Pack of 12). Often, he'd open with something like "as an American boy growing up in rural France." Killian grew up on Long Island, New York. He didn't take himself (or much else) too seriously....

[Killian] was also a member of the New Narrative Movement... Writers acknowledge the subjectivity of, and the author's active presence in, the text... Amazon reviews are a near-perfect vehicle for New Narrative's tenets... Killian camouflaged his reviews in the cadence of the Amazon everyman. He embraced all the stylistic quirks, choppy sentence fragments and run-ons, either darting from point to point like a distracted squirrel or leaning heavily into declarative statements.... About the biographer of Elia Kazan, he tells us, "Schickel is in love with the sound of his voice, and somewhere in the shredded coleslaw of his prose, a decent book lies unavailable to us, about the real Elia Kazan...."

[T]he writing can move from very funny to strangely poignant. One of my favorites, his review of MacKenzie Smelling Salts, begins with a tragically tongue-in-cheek anecdote about his Irish grandfather:

"My Irish grandfather used to keep a bottle of MacKenzie's smelling salts next to his desk. He was the principal at Bushwick High School (in Brooklyn, NY) in the 1930s and 1940s, before it became a dangerous place to live in, and way before Bushwick regained its current state of desirable area for new gentrification. And he kept one at home as well, in case of a sudden shock. At school, he would press the saturated cotton under the nostrils of poor girls who realized they were pregnant in health class, before he expelled them."

He ends with his own reasons for using smelling salts, citing wildly diverging examples: his grief upon learning of the death of Paul Walker from the Fast & Furious film franchise abuts Killian's disappointment at not being selected for the 2014 Whitney Biennial. Apparently, both were deeply traumatic experiences for Kevin... ["it took my wife a minute or two to locate the MacKenzie's, but passing it under my nose, as though she were my grandfather ministering to the pregnant girls of yore..."]

No one wants to be forgotten. I do not think it's a coincidence Killian started writing the reviews after his heart attack. Why did he keep going? Most likely, it was because he enjoyed the writing and got something out of it — pleasure, practice, and a bit of notoriety. But mainly, I think the project grew out of habit and compulsion. In a similar way, the graffiti art of Keith Haring, Jean-Paul Basquiat, and Banksy began in subway tunnels, one tag and mural at a time, until it grew into bodies of work collected and coveted by museums worldwide. In Killian's case, the global commerce platform was his ugly brick wall, his subway platform, and his train car. Coming away, I like to imagine him gleefully typing, manipulating the Amazon review forums into something that had little to do with the consumerism they had been created to support: Killian tagging a digital wall to remind everyone KEVIN WAS HERE.
The book reviewer points out that the collection's final review, for the memoir Never Mind the Moon: My Time at the Royal Opera House, is dated a month before Killian died.

"Unfortunately, the editors of this volume did not preserve the Helpful/Not Helpful ratings, only the stars."

Putting it all in perspective, the book critic notes that "In 2023, Amazon reported that one hundred million customers submitted one or more product reviews to the site. The content of most is dross, median." Though the critic then also acknowledges that "I haven't read any of Killian's other work."

BrianFagioli writes: The Linux Foundation has announced the launch of 'Supporters of Chromium-Based Browsers,' an initiative aimed at funding and supporting open development within the Chromium ecosystem. The purpose of this effort is to provide resources and foster collaboration among developers, academia, and tech companies to drive the sustainability and innovation of Chromium projects. Major industry players, including Google, Meta, Microsoft, and Opera, have pledged their support.

An anonymous reader quotes a report from Rolling Stone: Sun pours through the lush foliage of a jungle, bleaching the pale limestone as a rotting man stands in the center of an otherwise empty arena, his yellow eyes leering from beneath a fringe of limp, blonde hair. Positioned around the edge are a hundred bodies, Orcs and Trolls and bipedal oxen shouting, demanding, the death of the dishonorable. Their voices swell into a cacophony of noise before one rings out above the rest, howling, 'Kill the cheater and you'll get 20 gold!' There is silence, and then another frenzy. As I watch, eyes fixed on the dim glow of a laptop screen, I think of the colosseum in Rome -- sweat running down the muscled arms of battle-tested gladiators, the crowd cheering for blood.

This might sound like a moment pulled from a high fantasy drama made for prestige TV, but this is World of Warcraft, a now 20-year old online RPG. Instead of actors parading in front of green screens, this story's cast are streamers that occupy a virtual world. Tensions are high not because they're scripted, but because in World of Warcraft's Hardcore mode, death is permanent. Dejected, though acknowledging the transgression made, Sequisha -- the streamer who was promptly executed for cheating -- sighs, and goes back to the character select screen. He creates a new avatar; it's time to start the game all over again.

Sequisha's execution and subsequent reincarnation is just one of hundreds of stories playing out everyday in World of Warcraft as streamers have flocked to the massively multiplayer online RPG (MMORPG) to play together. Through their strife, and a commitment to staying in-character via roleplay, groups like the guild OnlyFangs have turned World of Warcraft into an RPG within an RPG, playing out improvisational personal drama where the stakes are high. In Hardcore mode, World of Warcraft has become the best soap opera on the internet, all playing out across over dozens of OnlyFangs creator streams every day. The new "Classic" and "Hardcore" servers were launched in celebration of World of Warcraft's 20th anniversary, helping to reignite interest in the game and increase viewership on platforms like Twitch and YouTube. The Hardcore server, where character death is permanent, attracted top streamers, leading to the formation of guilds like OnlyFangs.

After a successful first season, OnlyFangs reshuffled its roster, embracing a more immersive roleplaying approach in its second season. "What they didn't know was their experiment in World of Warcraft roleplay would inadvertently create one of the best emergent dramas on the internet," reports Rolling Stone.

An anonymous reader quotes a report from Ars Technica: Jason Allen-a synthetic media artist whose Midjourney-generated work "Theatre D'opera Spatial" went viral and incited backlash after winning a state fair art competition-is not giving up his fight with the US Copyright Office. Last fall, the Copyright Office refused to register Allen's work, claiming that almost the entire work was AI-generated and insisting that copyright registration requires more human authorship than simply plugging a prompt into Midjourney. Allen is now appealing (PDF) that decision, asking for judicial review and alleging that "the negative media attention surrounding the Work may have influenced the Copyright Office Examiner's perception and judgment." He claims that the Examiner was biased and considered "improper factors" such as the public backlash when concluding that he had "no control over how the artificial intelligence tool analyzed, interpreted, or responded to these prompts."

As Allen sees it, a rule establishing a review process requiring an Examiner to determine which parts of the work are human-authored seems "entirely arbitrary" since some Copyright Examiners "may not even be able to distinguish an artwork that used AI tools to assist in the creation from one which does not use any computerized tools." Further, Allen claims that the denial of copyright for his work has inspired confusion about who owns rights to not just Midjourney-generated art but all AI art, and as AI technology rapidly improves, it will only become harder for the Copyright Office to make those authorship judgment calls. That becomes an even bigger problem if the Copyright Office gets it wrong too often, Allen warned, running the risk of turning every artist registering works into a "suspect" and potentially bogging courts down with copyright disputes. Ultimately, Allen is hoping that a jury reviewing his appeal will reverse the denial, arguing that there is more human authorship in his AI-generated work than the Copyright Office considered when twice rejecting his registration.