Lawsuit accuses Chicago authorities of misusing gunshot detection system in a murder case

A 65-year-old man named Michael Williams spent almost a year in jail over the shooting of a man inside his car before prosecutors asked a judge to dismiss his case due to insufficient evidence. Now, the MacArthur Justice Center has sued the city of Chicago for using ShotSpotter, which it calls an “unreliable” gunshot detection technology, as critical evidence in charging him with first-degree murder. The human rights advocate group out of Northwestern University accuses the city’s cops of relying on the technology and failing to pursue other leads in the investigation.

Williams was arrested in 2021 over the death of Safarian Herring, a young man from the neighborhood, who asked him for a ride in the middle of unrest over police brutality in May that year. According to an AP report from March, the key piece of evidence used for his arrest was a clip of noiseless security video showing a car driving through an intersection. That’s coupled with a loud bang picked up by ShotSpotter’s network of surveillance microphones. ShotSpotter uses a large network of audio sensors distributed through a specific area to pick up the sound of gunfire. The sensors work with each other to triangulate the shot’s location, so perpetrators can’t hide behind walls or other structures to mask their crime.

However, a study conducted by the MacArthur Justice Center in 2021 found that 89 percent of the alerts the system sends law enforcement turn up no evidence of any gun-related crime. “In less than two years, there were more than 40,000 dead-end ShotSpotter deployments,” the report said. The group also pointed out that ShotSpotter alerts “should only be used for initial investigative purposes.” San Francisco’s surveillance technology policy (PDF), for instance, states that its police department must only use ShotSpotter information to find shell casing evidence on the scene and to further analyze the incident.

The lawsuit accuses Chicago’s police department of failing to pursue other leads in investigating Williams, including reports that the victim was shot earlier at a bus stop. Authorities never established what’s supposed to be Williams’ motive, didn’t find a firearm or any kind of physical evidence that proves that Williams shot Herring, the group said.

On its website, ShotSpotter posted a response to “false claims” about its technology, calling reports about its inaccuracy “absolutely false.” The company claims its technology has a 97 percent accuracy rate, including a 0.5 percent false positive rate, and says those numbers were independently confirmed by Edgeworth Analytics, a data science firm in Washington, D.C. It also answers the part of the lawsuit that criticizes Chicago’s decision to place most of it sensors in predominantly Black and Latino neighborhoods, which could lead to potentially dangerous clashes with the police. ShotSpotter said it’s a false narrative that its coverage areas are biased and racially discriminatory and that it works with clients to determine coverage areas based on historical gunfire and homicide data .

As AP reports, the lawsuit is seeking class-action status for any Chicago resident who was stopped because of a ShotSpotter alert. The MacArthur Justice Center is also seeking damages from the city for the mental anguish and loss of income Williams had experienced throughout the whole ordeal, as well as for the legal fees he incurred. Further, the group is asking the court to ban the technology’s use in the city altogether.

Instagram adds templates and tools to make it easier to create Reels

Meta has introduced new tools to expand the ways you can collaborate with others using Reels, as part of its strategy to be able to better compete with TikTok. To start with, you can now remix not just videos, but also photos on Instagram, giving you more material to use. The company has added more Remix layouts to include a green screen, a split screen or a picture-in-picture reaction view, as well, to make it easier to add your own spin or take to an existing Reel. Plus, you can choose to attach your remix to the end of the original Reel instead of having them play side-by-side. That format works better if you have a hot take or a rebuttal you want to publish.

In addition, Meta is rolling out templates to make it easy to create Reels with preloaded audio and video effects — you simply need to add your photo or video to one. You can see the company’s template collection by tapping on the camera icon in the Reels tab. Another new feature that makes the feature a more veritable rival to TikTok is the ability to record with the phone’s front and rear cameras at the same time using the Instagram camera. 

Finally, Meta has confirmed a previous feature leak that it will be turning all videos posted on Instagram as Reels, as long as they’re shorter than 15 minutes. Videos under 90 seconds long may be recommended on the app and, hence, may have a wider reach. But you don’t have to worry about becoming famous if you don’t want to be: Instagram won’t be using your Reels as a recommendation if your profile is set to private, and it will not retroactively convert old uploads. This feature is rolling out in the coming weeks and will also consolidate all your videos and Reels under one tab in the app.

Just a few days ago, Instagram also introduced a feature that would allow influencers to earn from their Reels. Creators can now share subscriber-only feeds that lock their content behind a paywall. Meta promised creators that it won’t be taking a cut from their earnings until 2024, but putting Reels behind a paywall is one way of monetizing them.The company’s executives previously said that they intend to focus on monetizing Reels as quickly as possible in the second half of 2022, so we’ll likely see more features intended to make money off the short videos in the near future.

Warner is the first major label to adopt SoundCloud’s fan-powered royalties model

SoundCloud has found a powerful partner for its unusual royalty system that ensures lesser-known artists and indie acts are getting the money they deserve. The service has signed a global licensing agreement with Warner Music Group, making the company the first record label to adopt its Fan-Powered Royalties model. Some of the record label’s most popular acts are Ed Sheeran, Coldplay, Cher, Gorillaz, Hayley Kiyoko, Kelly Clarkson and Lizzo. However, it’s most likely the artists who aren’t quite as well-known who would benefit the most from the scheme.

This deal ensures every artist across the label’s roster gets paid based on users’ listening habits. Most streaming services’ pro-rata model puts their ad earnings and their customers’ subscription payments in one big pot used to pay artists based on their share of total plays across the service. SoundCloud’s system, however, sends listeners’ subscription money directly to the artists they’re listening to. 

The service launched the new model in 2021 and implemented it for performers using SoundCloud Premier, Repost and Repost Select. Back then, it said artists could collect as much as five times their previous royalties under the scheme. Company President Eliah Seton said in a statement: “Warner Music Group is known for developing some of today’s biggest superstars and helping them build long-term careers by investing in technologies and models which grow and support their fan communities. This makes them an ideal partner for SoundCloud… [The company] is known for our community of music-loving fans and this partnership aligns with our commitment to a fan-powered, artist-centric business.”

When SoundCloud introduced the fan-powered royalties model, critics noted that it might potentially be expensive to operate and, while it looks good on paper, it may not work well in practice. Warner signing the deal adds weight to the royalties scheme, though, and other major labels might be more inclined to follow suit.

Lyft is shutting down its in-house car rental program

Lyft will stop renting out cars from its own fleet and has laid off around 60 employees, according to The Wall Street Journal. As TechCrunch notes, the layoffs have also been confirmed by the LinkedIn posts of affected workers. The people who lost their jobs, The Journal said, worked in operations and covered 2 percent of the company’s workforce. Back in May, the company reportedly wrote in a staff memo that it’s slowing down hiring due to the economic downturn, but that it didn’t have any layoffs planned. Things have clearly changed since then.

In an internal memo from Lyft VP Cal Lankton seen by The Journal, the executive said that the company’s road to in-house rentals is “long and challenging with significant uncertainty.” Lankton also explained that Lyft started discussing the possibility of exiting the business last fall and that talks ramped up as the “economy made the business case unworkable.”

The ride-hailing service debuted its car rental business in Los Angeles and the San Francisco Bay Area back in 2019 after a few months of testing, eventually expanding its first-party car rental offering to five locations. While it’s sunsetting the option to rent vehicles from its fleet, the company isn’t leaving the space completely. Lyft already runs more than 30 rental locations with Sixt SE and Hertz Global Holdings Inc., and it said it will continue working with big car-rental companies. “This decision,” a spokesperson told the publication, “will ensure we continue to have national coverage and offer riders a more seamless booking experience.”

Lyft is also in the midst of reorganizing its global operations and consolidating its offers from 13 to nine regions. That will lead to the closure of a location in Northern California and of its Detroit Hub, but it’s unclear if the move will cause more layoffs. Either way, Lyft is merely the latest company in the tech industry to cut jobs due to the economy. Tesla reportedly laid off 500 employees from its Nevada Gigafactory without 60 days of advanced notice. Netflix cut 300 jobs in June after cutting 150 jobs in May. And more recently, TikTok started laying people off around the world. Even the biggest companies in the industry aren’t immune: Meta reportedly told managers to keep an eye out for low-performing workers and to “move to exit” them if they’re unable to get back on track.

Samsung says it shipped almost 10 million foldable phones in 2021

Just a couple of short weeks before its next Unpacked event, Samsung has revealed that it shipped “almost 10 million foldable smartphones” worldwide. In a post on the Samsung Newsroom, the company’s chief of Mobile Experience (MX) Business, Dr. TM Roh, said that’s a 300 percent increase from 2020 and that he expects what he calls “fast-paced growth” to continue. Most of its foldable customers, 70 percent of them apparently, went for the clamshell-like Flip. That’s not surprising in the least: Samsung previously admitted that the Flip 3motivated more people to switch brands than its flagships did.

The 10 million units Roh claims Samsung shipped last year is considerably larger than the shipment numbers IDC previously published, though. In a report by the International Data Corporation in February, it said it “witnessed worldwide shipments of foldable phones, inclusive of both flip and fold form factors, reach a total of 7.1 million units in 2021.” Whichever figure is true, Samsung’s MX division posted an increase in revenue last year, mostly due to the strong sales of its foldables and its latest Galaxy S devices.

In addition to giving an update on how Samsung’s devices are doing, Roh has also confirmed that the company is introducing its next Flip and Fold models at its next Unpacked event. He also said Samsung made advancements to enhance users’ experiences with the upcoming devices:

“I am excited to see people to discover new ways to do more of the things they love with the new foldable…. At our upcoming Unpacked on August 10th, you’ll see that the impact of our innovation is not only about what technology can do. It’s about what you can do. We’ve once again taken our inspiration from the most important source — Galaxy users — to push the limits of what’s possible. I can’t wait to show you the potential of our new Samsung Galaxy foldables as the ultimate tool for both productivity and self-expression.”

Samsung’s upcoming Unpacked event will take place on August 10th at 9AM ET. Join us at our YouTube channel to tune into our coverage, which begins at around 8:40AM.

TP-Link adds two $200 tri-band routers to its lineup

TP-Link has introduced two new WiFi 6 routers that use tri-band technology, which translates to more bandwidth for multiple devices and less congestion. The Archer AXE5400, also known as Archer AXE75, is a WiFi 6E router than can deliver speeds of up to 5400 Mbps. It’s a standalone router that gives users access to the new 6 GHz band, which increases the number of WiFi devices the router can handle and gives those who own phones and other gadgets that have 6 GHz capability an alternative to the overcrowded 2.4 GHz and 5 GHz bands. It doesn’t, however, have motorized antennas that can follow devices around like the model the company showed off at CES this year.

TP-Link explains on the device’s official page that “[a]ccess to the 6 GHz frequency brings more bandwidth, faster speeds, and lower latency, opening up resources for future innovations like in AR/VR, 8K streaming and more.” In addition, the device is protected by the latest WiFi security protocol called WPA3, which is more secure than its predecessors, and has USB 3.0 so it can be connected to an external drive. 

Aside from the AX5400, TP-Link has also introduced the Archer AX5400 Wi-Fi 6 Tri-Band Router, or Archer AX75. This one does not have access to the 6 GHz band, but it does allow users to distribute demanding devices connected to the network on its two separate 5 GHz bands for better performance. 

Both AXE75 and AX75 will set buyers back $200 and are now available on Amazon. 

Microsoft is giving Xbox Insiders free access to classic Bethesda first-person shooters

Microsoft is giving select PC gamers free access to four classic games by Bethesda and id Software, which it acquired as part of its $7.5 billion ZeniMax purchase in 2020. And three of them wouldn’t have been released if the tech giant isn’t acquiring Activision Blizzard, as well. In a post on the Xbox blog, Microsoft has revealed that Xbox Insiders on Windows PC can now preview Heretic: Shadow of the Serpent Riders, HeXen: Beyond Heretic, HeXen: Deathkings of the Dark Citadel, The Elder Scrolls: Arena and Quake Champions. 

It’s not surprising that the offer is only available for PC users part of Microsoft’s Insider program — as Ars Technica notes, the first four games in the list were originally released in the mid-90s and run via DOSBox emulation. DOSBox runs software for MS-DOS compatible games, but it’s a pretty inelegant solution for making old titles playable. 

The Elder Scrolls: Arena is an open-world action RPG published by Bethesda, with a first person perspective and features melee combat and magic. Meanwhile, Heretic, its sequel HeXen: Beyond Heretic and the latter’s expansion pack, HeXen: Deathkings of the Dark Citadel, are all first-person dark fantasy shooters. They were built using a modified version of the Doom engine, and though they were published by id Software, they were developed by Raven Software. Activision acquired the rights to those games when it purchased Raven in 1997.

Microsoft first announced that it’s purchasing Activision Blizzard for $68.7 billion in January this year and expects the deal to close no later than June 2023 if regulators give it their approval. It’s an all-cash deal that values Activision at $95 a share. Microsoft plans to add Activision Blizzard games to the Xbox Game Pass as part of the acquisition, and some of those games may be like the Heretic-HeXen series, which Activision doesn’t fully own.

Not all Netflix shows will be streamable on the ad-supported tier

When Netflix’s cheaper ad-supported tier launches next year, subscribers may find themselves unable to access some of the service’s titles available on its regular plan. As Deadline notes, Netflix co-CEO and Chief Content Officer Ted Sarandos has admitted during the company’s most recent earnings call that the upcoming subscription option will not include all of its licensed content at launch. It will be missing shows and movies from both US and international studios and distributors, unless the company can successfully (and quickly) convince them to change the deal they originally agreed to. 

Netflix is in talks with studios to amend their deals and be able to make their shows available for streaming alongside ads. Based on a previous Wall Street Journal report, Netflix is renegotiating its deals with Warner Bros. (the studio behind You), Universal (the producer of Russian Doll) and Sony Pictures Television (producer of Cobra Kai). The service will reportedly have to renegotiate the terms for some of the older shows it carries, as well, including Breaking Bad. 

Sarandos said during the earnings call:

“Today, the vast majority of what people watch on Netflix, we can include in the ad-supported. There’s some things that don’t and we’re in conversations with the studios on, but if we launched the product today, members in the ad-tier would have a great experience. We will clear some additional content but certainly not all of it but don’t think it’s a material holdback for the business.”

In the same call, Netflix also admitted that it lost nearly 1 million subscribers in the second quarter of 2022. It still turned a $1.44 billion net profit and expects to add a net 1 million subscribers in the next quarter, but it’s hoping that some of the measures it’s taking will help it grow its userbase yet again. The ad-supporter tier it’s launching with Microsoft early next year could help Netflix grow in markets where there’s strong ad spending. 

Netflix is fighting password sharing in Latin America by charging for additional ‘homes’

Netflix has introduced a new way people can share accounts — and, hence, a new way to curb password-sharing — for five Latin American countries. Starting on August 22nd, users in Argentina, the Dominican Republic, El Salvador, Guatemala and Honduras will have to pay for extra “homes” if they want to access the streaming the service outside of their primary residence for longer than a short vacation. 

Subscribers can watch Netflix on their phones or tablets anytime and as much as they want even while they’re traveling or visiting another place. But if they want to stream on a TV, they can only access Netflix at no additional charge for two weeks while away from their primary residence. Further, they can only stream for free at a particular location once. After those two weeks are up, or if they go back to a location where they previously maxed out free access to the service, Netflix will ask if they would like to add a home for an additional fee per month.

Basic tier subscribers can add one extra home, standard up to two extra and premium up to three extra. Netflix says it uses information such as IP addresses, device IDs and account activity to detect homes, but it’s advising people to make sure their devices are using the same internet connection and aren’t using VPN or proxy services in case its system is insisting that the viewer is outside their primary residence when they aren’t. The company will also allow members to stop paying for an extra home whenever they want and to replace their added home up to three times every six months. 

Earlier this year, Netflix said it lost about 200,000 subscribers in the first quarter of 2022 due to stiffer competition and the abundance of account sharing. According to Bloomberg, password sharing has been especially rampant in Latin America, which is most likely why that’s where the company is testing new features meant to prevent the behavior. In its announcement, Netflix said the service will cost users 219 Pesos per month per home in Argentina and $3 per month per home in the Dominican Republic, Honduras. El Salvador and Guatemala.

Netflix’s animated ‘Tekken: Bloodline’ series will arrive on August 18th

Netflix has launched a full trailer for its upcoming animated adaptation of Tekken, Bandai Namco’s famous fighting game franchise, and with it comes the show’s premiere date. Tekken: Bloodline is arriving on the streaming service on August 18th and will be available in several languages, including English and Japanese. The show focuses on Jin Kazama and takes place between the events of Tekken 2, which features his mother Jun Kazama as one of The King of Iron Fist Tournament competitors, and Tekken 3. Jin made his debut in the franchise’s third entry released back in 1996 after losing his mother and his home to Ogre, one of the franchise’s antagonists. 

In the series, Jin trained under his grandfather Heihachi Mishima, the tournament’s founder, in his quest for revenge. You’ll hear Heihachi tell Jin to shed the pacifist Kazama ways and to “stoke [his] Mishima fire.” Yes, Heihachi sounds positively villainous, because he’s the franchise’s main antagonist. The trailer also shows faces that would be familiar to long-time fans, as characters from the games also appear in the show. They include Hwoarang, Julia Chang, Nina Williams, Paul Phoenix, Ling Xiaoyu and Heihachi’s son Kazuya Mishima.

You can watch show’s official trailer below: