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Regal Cinemas movie subscriptions are reportedly coming this month

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The top pricing tier is set to cover all Regal Cinemas, and the lowest will apparently grant you access to tickets for about half the chain’s locations. If you subscribe to a tier that doesn’t cover a theater at which you’d like to watch a movie (say, a venue in Midtown Manhattan), there’ll likely be a surcharge for a ticket. Subscribers will also get 10 percent off concessions.

However, the report indicates you might need to sign up for a year at a time, which may prove too steep a payment for many movie fans. It’s also not clear whether you’d have to pay a surcharge on premium options, such as IMAX, 3D screenings and D-Box — AMC’s plan includes those types of moviegoing experiences. Regal and its parent company Cineworld are still said to be ironing out the details with major studios.

It’s the latest example of a theater chain seemingly recognizing there’s a clear appetite for unlimited movie ticket subscriptions, as made evident by the popularity of MoviePass and Sinemia — though those services have struggled to keep their heads above water financially. AMC’s Stubs A-List, however, is rapidly gaining traction among film fans. It has more than 860,000 subscribers, up from 800,000 in May.

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Netflix says its originals will kick their smoking habit

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“Netflix strongly supports artistic expression,” a Netflix spokesman said. “We also recognize that smoking is harmful and when portrayed positively on screen can adversely influence young people.” As part of its clampdown, Netflix will also reveal details about smoking in its ratings.

The move follows a report from anti-smoking group Truth Initiative, which states season 2 of Stranger Things had 262 depictions of smoking, up from 182 in the first season. To date, smoking has featured in every episode, the watchdog said. The report, coincidentally or not, dropped a few days before Stranger Things season 3 starts streaming.

Truth Initiative claimed there was an uptick in smoking instances in recent seasons of some other Netflix originals that are popular among folks aged 15-24. Between seasons 2 and 3 of Unbreakable Kimmy Schmidt, depictions of smoking rose to 292 from nine. They jumped from 45 to 233 between seasons 4 and 5 of Orange is the New Black, the group claimed.

It also said 12 of the 13 overall most popular TV shows among that age group prominently feature smoking. Those include Amazon Prime Video’s The Marvelous Mrs. Maisel and Hulu’s Gap Year. Truth Initiative ranked the most popular shows among 15 to 24-year-olds based on 750 survey responses from people in that age group.

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'Hitman 2' music-themed update weaponizes a violin

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Hitman 2 has had its share of unusual updates and events, but its latest may be particularly appealing if you're music-minded. IO Interactive has outlined a July roadmap with a string of music-themed activities, most notably the "I'm With the Band"…

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Jurassic World’s J.A. Bayona to direct Amazon’s Lord of the Rings series

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“J.R.R. Tolkien created one of the most extraordinary and inspiring stories of all time, and as a lifelong fan it is an honor and a joy to join this amazing team,” said Bayona in a statement to Deadline. “I can’t wait to take audiences around the world to Middle-earth and have them discover the wonders of the Second Age, with a never before seen story.” Bayona will be tasked with bringing to life a screenplay by writers JD Payne and Patrick McKay. Even though Bayona is only directing the first two episodes, his work will lay the groundwork for the entire series.

Nearly 16 years after Peter Jackson concluded his genre-defining LOTR trilogy with The Return of the King, Amazon Studio’s upcoming TV series has set out to outdo the 2000s-era films in terms of scope and budget. Instead of a straight rehashing of the J.R.R. Tolkien trilogy, the show will “explore new storylines preceding The Fellowship Of The Ring.” At an expected $500 million for the first two seasons, the show’s budget is twice that of all three Jackson films combined, and is likely to be the most expensive TV production of all time. In a post Game of Thrones world, Amazon is setting high expectations for the LOTR series and hopes to rival the mammoth HBO hit. Given that it’s paying top dollar and drawing in high-caliber talent for this Middle-earth drama, it’ll likely fulfill that goal.



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Social media is revolutionizing how scientists interact with the public

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“It was right after the election and I noticed that there was all this energy in the community, thinking about how we could better communicate our science to the public,” University of Connecticut PhD student Sarah McAnulty told Engadget. “I thought we needed some way to engage scientists, in a low time-commitment, high-impact, kind of way.”

The result is Skype a Scientist. Launched in 2017, it connects researchers from a broad range of fields with students, teachers and other interested groups via, well, Skype. Each meeting lasts 30 minutes to an hour and operates as an informal Q&A session.

“Typically it is structured as question and answer sessions, because we want people to feel as though they’ve really met a scientist, not just got lectured,” McAnulty continued. “We want people to get answers to what they actually want to know about. That’s really important.”

The operation itself is fairly straightforward. Teachers and interested parties fill out a Google form with their schedule availability while researchers and scientists fill out a similar form of their own. Then, a sorting algorithm designed by bioinformatician David Jenkins, a PhD student at Boston University, matches up the two groups for a session. “It’s free,” McAnulty points out. “As long as you have an internet connection, you’re good to go.”

Before the advent of the internet, this sort of interaction simply wouldn’t be feasible. Similar programs do exist, such as Letters to a Pre-Scientist, but nothing on this scale. In the last two and a half years, Skype a Scientist has served 15,000 classrooms and signed up 6,000 individual researchers to participate.

“I basically did this whole thing via Twitter, I tweeted about it,” McAnulty said. “And then the word of mouth spread extraordinarily quickly. Without that social media aspect of scientists talking to each other on Twitter, I can’t imagine I would have gotten this many teachers or scientists.”

Before Skype a Scientist, McAnulty launched the Squid Scientists Tumblr page in 2014. “Originally, it was just I wanted to see what what if it was possible because Tumblr, generally speaking, wasn’t a place where science communication was happening too much.” Still, McAnulty found Tumblr to be less hostile to women than Reddit and that it skewed towards further a younger audience than Twitter.

“I get more questions from Tumblr from young women who are thinking about being a scientist or just want to know more before they make a choice about what kind of careers they think they could see themselves in,” she said. “So Tumblr has been really powerful for that.”

Indeed, the elimination of communication barriers and the waning influence of traditional “gatekeepers” to the scientific community has enabled female, PoC, LGBTQ+, and non-binary researches a direct line to an interested public. And given that a 2018 study found that only around 30 percent of studies published in the Nature Index journals were penned by female researchers, that ability to connect with not just the public but other researchers as well, could help reduce that discrepancy.

McAnulty notes that mainstream science media outlets like the Discovery Channel or NatGeo will cast their scientist hosts based on who will return the best ratings. “In the process, they are choosing scientists that they think people will view as scientists,” she said, “It’s a positive feedback loop of sexism.”

However, with the rise of social media, especially Twitter, Instagram and YouTube, researchers from underrepresented groups don’t have to wait for NatGeo to come knocking. They can produce their own content, cultivate their own audiences and share their passion for science directly. “The more that we’re engaging with the public — and even engaging in our own communities — the more representation you have of everybody, the better and the stronger our scientific community will be,” McAnulty said.

The podcasting community has also become a hotbed for science communication. Take This Week In Science, for example. Originally a live radio show broadcast from KDVS on the University of California, Davis campus, it now reaches listeners in 60 countries as a weekly podcast. Neurophysiologist and science communicator, Dr. Kirsten “Kiki” Sanford, founded the show in 2000.

“I was a graduate student when I started it and was really interested in the idea of talking with people about the stuff I was learning,” she explained to Engadget. “I would hang out with my neighbors and we would talk about things that we had learned recently, things that were cutting edge research, and just how exciting they were.”

She quickly realized that there wasn’t much of that sort of content available. “The only radio show at the time in the area that I lived, was Science Friday, which was great, but that was it,” Sanford said. “And so we approached the local college radio station to see if they wanted to have a science show.”

In the 19 years (and 500-plus episodes) since, TWIS has held a number of live tapings at local clubs and science festivals. “I enjoy doing live shows, because there’s that instant feedback,” Sanford said. “You can see people’s faces, whether or not they’re engaged in what you’re talking about whether or not they’re bored. I can up-regulate what I’m saying, I can shift the way that I’m explaining it, I can ask the audience a question and you know, get a show of hands or get a response right then and there.”

Sanford and her team are expanding into other areas of social media, such as their recently-launched monthly newsletter. “I’d like to be able to get the show to stable financial basis, where we can put more time into doing shorter content for YouTube, or maybe a daily show” Sanford continued. “One fun idea that have been bounced around recently: I have an eight year old son and he’s getting interested in [science]. So we’ve been talking about having a Twitch Junior program.”

These sorts of conversations wouldn’t have occurred without the rise of these platforms. “With the access that people have, especially social media, I am seeing so many more scientists, talking to people not just to each other, but to people who are just like, ‘Oh, what is this thing you study?” Sanford noted. “And suddenly there’s a conversation happening. That didn’t happen before.”

Science communication is having an outsized effect on the scientific job market as well, Sanford points out, with people carving out careers in a field that didn’t exist a decade ago. “You had science writers, you had science journalists, but to the idea of a science communicator?” Sanford quipped, “Now people are calling themselves science communicators all over the place. It’s amazing.”

Though social media’s open access regularly serves as a double-edged sword, with conspiracy theorists intentionally spreading misinformation online, both McAnulty and Sanford remain optimistic that the scientific community will be able to minimize the damage those bad-faith actors might cause.

“That’s social media’s equality, and that is a blessing and a curse,” McAnulty said. “I guess one of the goals for my science communication, and my career, is to help people connect with sources of information that they can trust.”

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Are headphones ‘made for women’ really necessary?

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“Well, this is really interesting, I thought,” she told Engadget. “I must not be the only female that feels like headphones aren’t made for them.” After some brainstorming and partnering with manufacturers, she came up with the idea for Rosé Rockers, which are a pair of headphones with artificial flowers placed so it looks like a halo on your head. She wore them while deejaying at a Bravo TV “summer house” finale, and they were a big hit with the guests.

But those flowers weren’t enough for Stillings. “I wanted to make it not just a pretty headphone, but one that would actually fit women better, and sound the way a woman’s ear should hear.” Not only are women’s ears typically smaller in size, they also respond to bass and pitch differently than men, she said.

Rose Rockers

Rosé Rockers are headphones “made for women, by women”

Several research studies support that claim. A 1997 study from Medscape Women’s Health states that women have better hearing than men at frequencies above 2,000 Hz. Another study in 1997 done by researchers in Northeast Louisiana University noted that women have a greater preference for stronger bass. A 1995 study published in the Journal of Acoustical Society of America also states that men tend to experience hearing loss much earlier in life, with sensitivity that “declines more than twice as fast in men as in women at most ages and frequencies.”

Spurred by the research, Stillings set about making a better version of her Rosé Rockers. The ear cups are a little smaller than average on-ear headphones to fit smaller-sized ears. The audio is also more “balanced” acoustically in a way that she says won’t be damaging to a woman’s hearing. Plus, Stillings made the headphones foldable, so they would easily fit in a purse or handbag. And, of course, they have those flowers on the band, which come in red, blue and purple. The site finally went live earlier this year in May, and they sell for $98 each.

Despite the headphones’ flowery decals, Stillings says that what sets her company apart is the technology.

“Part of what our brand is about is actually not just taking the existing technology and slapping something cute on it and saying this is for women,” she said. “Sometimes a brand will be like ‘We made something pink and we made it for you girls.’ That’s almost insulting at this point.” While other companies simply made their headphones more outwardly feminine, Stillings said, her headphones are made for women from the inside out.

Skullcandy

Skullcandy’s Knockout headphones were “made for women” too

Yet, Stillings’ Rose Rockers aren’t the first headphones “made for women.” Skullcandy introduced a pair of “Knockout” headphones in 2014 that were also designed for the female ear (physically and acoustically). It was apparently the result of “years of research” into the “anatomical and acoustic differences between men and women,” and it too was adorned with various colors and flowers. That said, the company has already discontinued the headphones. A cursory online search reveals that most of the headphones targeted for women aren’t too different from “normal” headphones, except they come in more colors and styles.

It seems that despite the research and Stillings’ claims, there might not really be a huge demand for headphones made just for women. “Do men hear differently from women? Yes. But it’s not appreciably different,” said Dr. Craig Champlin to Engadget. Champlin is a professor in the Department of Communication Sciences and Disorders at the University of Texas at Austin, whose research focuses on auditory perception.

Champlin acknowledges that there are certainly some differences between men and women from the physical or anatomical perspective; men’s ears do tend to be larger than women’s ears. Everything from the pinna (the flap of skin on the side of your head), to the concha (the recessed “bowl” in the ear) and the ear canal are generally bigger for men than women.

Champlin said that as far as earbuds go, there probably is a need for different sizes. Larger ones will probably be uncomfortable in most women’s ears and very small earbuds might be much too loose in most men’s ears. JBL’s YurBuds, for example, are a line of earbuds marketed mostly toward women due to their smaller size. Of course, there are also plenty of other earbuds that come with different-sized tips right in the box to help accommodate ears of all shapes and sizes.

As far as over-the-ear headphones go, however, Champlin doesn’t see much of a need for different sizes. “That’s the same for men and women,” he said, adding that the ear cups for most headphones are generally sized large enough to be comfortable for big and small ears.

Woman's ear and cheek, close-up

A woman’s ear tends to be smaller than a man’s ear (Image: John Turner via Getty Images)

Aside from that, Champlin says that despite the earlier studies, the acoustic differences between the sexes are relatively minor. “Men and women hear low pitches about the same,” he said, adding that young people in general can hear higher pitches than those who are older. Men, however, age more rapidly than women, and will lose their sensitivity to high pitches over time. “It’s men who could use a little bit more boost in high pitches relative to women, if anything.”

“Even then, the deterioration is very slow,” Champlin added. “Over a twenty-five year period, it changes maybe a decibel a year at 8,000 Hz. It’s very subtle and very gradual.”

Plus, he said that if you wanted to change the bass for example, you can just do that via software. “If you’re listening on a phone or a portable music player that has electronics, you can adjust the quality of sound on the device. That can change the acoustics just fine. You don’t need headphones specifically designed for that.”

In fact, Champlin goes on to say that it’s actually a far bigger deal to be able to change the bass and treble however you like it, regardless of sex, so that it fits your preferred genre of music and the background that you’re in. “Some women like jazz, some like rock, some like classical, and men are the same too.”

Rose Rockers

A pair of Rosé Rockers with purple flowers

In response to Champlin’s claims, Stillings said that you could indeed use your phone’s EQ to properly balance the sound, but with Rosé Rockers, the work is already done for you. “The way that we balance the sound is proprietary and not obvious to the average, untrained ear,” she said. “This is part of my specific expertise in DJing and testing almost every headphone I could get my hands on in the last eight years.”

I had a chance to try out a pair of Rosé Rockers for myself, and I found them to be a pretty average pair of headphones. The sound quality was good with decent bass and highs, but the overall construction felt a little tight around my head. The on-ear cups are a little smaller than what I’m used to as well, which I didn’t really think made that much of a difference as far as comfort goes. As for the flowery design, well, I’m definitely not the target market for that kind of style (Stillings did tell me they’ll come out with more neutral flower-less options in the fall). I know it’s unfair to compare the two, but let’s just say I’m not giving up my $300 Sennheisers any time soon.

Of course, Stillings isn’t going after the high-end market with her $98 Rosé Rockers. Instead, she simply wants to be the first company to make headphones for women, by women. And while I don’t care for the headphones, I do appreciate her message. “We don’t want women to be paying a pink tax,” she said. “We would rather build something and take less of a margin and be able to make a product that promotes women’s ear health; to build a product that make women feel beautiful while helping them live a healthy life. That’s just so much more important to us.”

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Mobile game streaming service Hatch is available in the UK

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Hatch teamed up with Vodafone for its official launch in the nation, which takes place just as the carrier starts switching on its 5G network around the British Isles. Vodafone subscribers get access to Hatch’s premium tier free for three months, then it’ll cost £6.99/month.

The lineup of more than 100 games includes several Angry Birds titles (not too surprising, as Hatch is a Rovio subsidiary), Monument Valley, Hitman Go, Badland and some exclusives. You can chat with your buddies inside the Hatch app, play games with them, check out leaderboards, share gameplay clips and take part in tournaments. There’s also a section for kids, while non-subscribers can check out 20 games for free.

For now, Hatch runs on some 5G-enabled phones and handsets running at least Android 6.0 with more than 1 GB of RAM. It also works on certain Android TVs and set-top boxes. Apple, meanwhile, has its own game subscription plan on the way.

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Blipblox is a synth made for kids that adults will like too

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blip

Under the hood is a surprisingly robust digital synth engine capable of producing rich and downright bonkers sounds. In addition to the oscillator there’s your usual assortment of synth parameters. There’s an amp envelope (though you can only control over the decay), a pair of LFOs, a modulation envelope and a low-pass filter that take the raw sound of the oscillator and turns it into something far more compelling.

But here’s the thing: Most of those controls and options have been streamlined or hidden to make synthesis more approachable. For instance, you don’t select a wave form yourself; you press a button in the middle to cycle through various algorithms that combine oscillators and modulation schemes in various predetermined ways.

In fact, you won’t find the words “cutoff” or “wave shape” anywhere on the front panel. Or any labels, for that matter. There’s not even a keyboard here. Instead it comes preloaded with hundreds of melodies and sequences that it automatically and endlessly cycles through… whether you like it or not. The idea here is to avoid the usual prescriptive approach to sound design and encourage experimentation. And that is largely in service of the target audience: children.

Blipblox

Blipblox is meant for kids as young as three. And I can tell you from experience, most three-year-olds wouldn’t understand what an LFO does. Nor would they care. But they can probably piece together that the blue knob makes things sound all wobbly and crazy. And by taking away the keyboard, they’re encouraged to focus on how the knobs and buttons affect the sound rather than trying to play a melody. It is, after all, a toy and shouldn’t remind kids of their boring piano lessons.

Of course, there’s more to do here than blindly turn knobs and hope for the best. The Blipblox is designed to grow with a child. Once they get past the turn-knobs-and-push-buttons-at-random phase — maybe somewhere between five and eight years old — kids can start connecting the knobs to their specific functions and learn to follow the signal flow lines on the front. And if they need a little help, there’s an online Learning Toolbox that spells everything out: It tells you the big lever on the right controls the cutoff, the light blue knobs on the bottom control the modulation level, and so on.

Blipblox

Now, here’s where things get fun even for the adults in the room. There are a number of hidden features in the Blipblox that you can unlock using certain button combinations. I won’t run through all of them, but the two most exciting are the “bonus wave form” mode and “sequence off” mode. The first of those options adds four more sounds that the company deemed “too crazy” for a younger audience. The latter turns off the relentless internal sequencer and turns it into a pretty standard if someone limited desktop synth. From there you can hook up an external sequencer or keyboard to the standard five-pin MIDI DIN on the back and play it like any other instrument.

That means that even as your child enters their teenage years, they can still get use out of the Blipblox as a source of real music rather than just a source of unending cacophony. Once you play this thing with a real keyboard, plugged into a decent amp, you realize it’s not just a noisemaker.

Yes, the Blipblox is shiny and made of rather cheap-feeling plastic. Yes, it’s explicitly designed for children. But that doesn’t necessarily make it just a toy. And honestly, at $189, it better be more than a toy. That’s more than most of Korg’s Volca line. You can even find “real” analog monosynths like the Monologue or Arturia’s Microbrute used for around that price.

But those instruments can also be intimidating to a child. Blipblox’s appeal is in its simplicity and sense of whimsy. And its only competition on that front is the Dato DUO, which takes a different approach to teaching synthesis. It puts more of the “standard” synth controls at children’s fingertips and encourages parents to play with their kids. But at this particular moment in time, they’re kinda hard to find in the US and cost more than $400. As much as I love my child, I’m not entirely sure he needs to own the most expensive synth in the house.

Blipblox

The Blipblox is basically everything you’d expect out of a children’s musical toy. It’s immense fun. And it will probably drive parents insane. It also feels like a toy, which is really the biggest knock against it. It’s survived a few weeks with my crazy toddler. But I’m not sure yet if it could survive a few years. And it will need to survive that long for him to get the most out of it. Because what sets Blipblox apart from other music toys is that it’s a learning tool and an instrument — not just a way to introduce new forms of noise pollution to your home.

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Facebook, Instagram and WhatsApp are struggling to stay online today

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At this point, it’s unclear what might be causing the issue. In March, Facebook experienced a massive outage, supposedly due to a server configuration change. A month later, Facebook, Instagram and Whatsapp experienced another outage. This marks the third major outage this year.

Engadget has reached out to Facebook for comment.

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D-Link agrees to 10-year security assessment to settle FTC lawsuit

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The agency took D-Link to court back in 2017 over the security of its routers and IP cameras. FTC says the company failed to address preventable security flaws, such as storing passwords on its app in plain text and using hard-coded login credentials for its devices with easy-to-guess usernames and passwords. The court dismissed those claims once, because the FTC didn’t submit enough proof to substantiate them.

While the agency was clearly able to resurrect the lawsuit, D-Link says that court didn’t find it liable for any alleged violation in the end. The court also came to the decision that D-Link didn’t engage in any deceptive marketing statements or practices. Plus, the company says that it will merely continue “its current comprehensive software security program” as part of the terms of settlement.

Finally, D-Link is also required to undergo third-party assessments of its software security program for 10 years. The FTC has to approve the third-party assessor D-Link chooses, and it requires specific evidence to ensure its findings are impartial and accurate.

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