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Source: Xbox / Xbox Series X Console Wraps
Xbox has been rolling out the custom Xbox Series X and Series S consoles that were exclusive and not available for purchase. Now, Xbox is giving Series X owners a way to add some flavor to the big black box.
Monday, August 21, Xbox decided to take a page out of PlayStation’s book by allowing Xbox Series X owners to finally add a bit of a personal touch to their consoles.
Like the PS5 custom plates, there are now Xbox Series X Console Wraps, but they are much easier to put on your console.
Per Xbox:
The wraps were designed specifically for Series X and have a custom, precision fit. Every detail was taken into consideration to ensure your console performance is preserved– vents are all clear, and small feet were added to the bottom of the wraps to ensure air can flow freely through the console.
Made with solid core panels that are layered with high-tech fabric finishes, the wraps are folded around your console and secured with a hook and loop enclosure. The interior of the wraps are printed with silicone designs that keep the wrap in place.
Source: Xbox
Celebrating the forthcoming launch of Starfield, the first Console Wrap will take its cues from the Bethesda title and the Xbox exclusive and compliment the already launched Starfield Xbox Headset and controller.
How Much Will The Xbox Series X Console Wraps Cost?
The Starfield Xbox Series X Console Wrap will release in the US, Canada, and Europe on October 18 for $49.99 and is available for pre-order right now via the Microsoft Store.
If Starfield isn’t your jam, and we understand if it isn’t, Xbox is rolling out two other Console Wraps.
Series X can look forward to Artic and Mineral Camo Console Wraps launching in the US and Canada on November 10 for $44.99, and they are also available for pre-order right now.
Source: Xbox / Xbox Series X Console Wraps
As expected, Xbox gamers are excited about the news; you can peep the reactions in the gallery below.
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Photo: Xbox / Xbox Series X Console Wraps

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Source: NurPhoto / Getty / Elon Musk
Just when you thought there was no way Elon Musk could possibly ruin Twitter, oops, we mean X any further; he is now deciding to remove the one tool users love to keep themselves sane.
Last week bootleg Tony Stark, aka Elon Musk, claimed his trash a** platform X, formerly known as Twitter, was getting rid of the beloved block button claiming it “makes no sense.”
“Block is going to be deleted as a ‘feature’, except for DMs,” the so-called tech genius said in a tweet on a Friday.
Hilariously, Musk’s X post was slapped with a further content notice by an X user pointing out that if he removed the ability to block people, his app would violate Apple’s App Store and Google Play Store guidelines.
“If the ability to block users was to be removed, X would be in violation of the policies of the App Store as well as the Google Play Store. Potentially, this could lead to X being removed from these platforms,” the further content notice read.
Musk then suggested that X users instead utilize the mute feature that doesn’t block users from trolling your account but removes their posts from your timelines.
Elon Musk Is Very Unserious
In pure case of irony, right-wing trolls James Woods and Catturd decided to confront the Tesla chief about removing the block button and hilariously were blocked by Musk.
Another X user made a keen observation, pointing out that “Elon Musk probably wants to remove the block feature after he found out how many of us block him.”
Other users add they will leave X altogether; one X post read, “If this happens I’ll be leaving the app. Sorry friends.”
We shall see if Musk will follow through on removing the block feature, but it’s clear the devil works hard, but Elon Musk works harder to ruin his app.
You can see more reactions to Elon Musk possibly removing the block button and getting slam dunked by his community notes feature in the gallery below.
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Photo: NurPhoto / Getty
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Source: EA Sports / Madden NFL 24
Most reviews for Madden NFL 24 have not arrived, but the game is already getting sacked by players who have had early access to the game.
Is Madden NFL 24 fumbling the ball already? The annual football video game franchise was already reportedly a “make or break” release for management, according to an Insider Gaming report, and it’s looking like the game is already letting some players down like Matt Ryan constantly did for Atlanta Falcons fans.
Type Madden NFL 24 in the X (formerly Twitter) search bar. In that case, you will be greeted with videos of insane glitches and what is becoming the usual dissatisfaction with the iconic sports video game.
In one clip, a player looks like he dies after celebrating a kick return for a touchdown.
In another hilarious video with the caption “MADDEN 24 JUST GOT RELEASED AND I ALREADY UNINSTALLED”, a player has his pass tipped, and it somehow bounces off the back of one of his offensive linemen leading to a pick 6.
In another video, a player can be seen spinning around in circles after his team scores a touchdown.
And this is supposed to be a more polished game this year.
What Are The Critics Saying?
As of this writing, there are only three reviews on Opencritic. Sam Watanuki of SVG gave Madden NFL 24 a 7 out of 10, writing, “Madden 24″ is an enjoyable, polished ride that will please newcomers and veterans alike, but it doesn’t necessarily deliver a transformative experience.”
XboxEra’s Genghis Husameddin gave the game a 6 out 10 writing in his review, “Madden NFL 24 is made for the returning fans,” adding, “But technical issues compounded with an unintuitive user experience and unhelpful tutorials make it difficult for someone new to the sport to really sink their teeth into American Football. Still, the core gameplay is solid and fun to play—I just wish it were easier to get to.”
So basically, it’s the same old Madden NFL.
Madden NFL 24 has a lot of making-up to do, especially after Madden NFL 23 players lost their connected franchise saves due to an update pushed out by EA Tiburon.
The game developer gave players a 50% discount to ensure no goodwill was strained. Based on these early reactions, it’s looking like Madden NFL 24 is more break than make.
We will be debating forever how to restore Madden to its championship form or if the NFL needs to let 2K get its hands on the NFL license, but as of right now, Madden NFL is all we got.
You can see more reactions to the latest installment in the Madden NFL franchise hit the gallery below.
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Photo: EA Sports / Madden NFL 24
2. Howling
3. Man wanted his money back.
4. What is this?
12.
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In the relentless pursuit of innovation that defines today’s financial landscape, few events stand like Triller’s public listing. As a company at the intersection of AI technology, influencer marketing, combat sports, and entertainment, Triller’s announcement of its filing for a public listing on the NYSE represents a defining moment in investment history. With Cantor Fitzgerald as its bank and Citadel as its market maker, it has attracted leaders in the financial industry to ensure the brand is successful.
Here’s an in-depth look into why Triller’s listing is one of the most exciting of 2023:
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Triller’s AI, initially called Amplify.AI, has redefined user experience. Tailoring content to individual preferences, this innovative tech not only improves user experience but also opens up avenues for monetizable interactions, breaking 750 million every quarter. With comparisons to Open.AI and a valuation north of $23 billion for OpenAi’s similar technology, Triller’s AI machine stands as a significant pillar of growth.
Leveraging influencers has been a transformative element for Triller. Starting with deals with virtually all of the top 100 influencers in the world, Triller followed up by acquiring and building Julius, connecting over 25,000 brands with 2.2 million influencers as one of the largest influencer marketing platforms today.
Julius used by many of the largest companies in the world is effectively an EBAY for influencers and other brands alike. Triller has created a unique ecosystem, allowing it to navigate a crowded market with finesse, and have a very unique offering to brands, influencers and users.
While it may not seem natural, Triller’s journey into combat sports further deepend its offering, user base and connectivity. When Triller put on the Tyson V. Jones pay per view extravaganza, it was considered a very risky move. Many didn’t believe it would work and were quick to dismiss it as a soon to be failed experiment.
Triller, however, seemed to understand that its unique AI, which finds users or customers from its patterns across the various social media networks, connecting them with relevant brands, products or offerings, could also apply to digital products, not just physical.
As Combat Sports both crossed into influencer marketing and the core audience was used to paying for it as a product, Triller was able to capitalize on these trends. By using its AI to push digital PPV’s it was able to create what went on to become the most successful Digital PPV event of all time, of its kind. It followed this up with a number of events including the Jake Paul, Ben Askren, The Trillerverz events, setting numerous records, including Verzuz being 8 of the top 10 live Instagram events of all time; and eventually its acquisition of BKFC and FiteTV.
Although Triller presented itself as a pre-revenue company in 2020 it recognized $3.7 million in 2020. Its growth from 2020 to 2021 was approximately a 7x increase, and it has double both from 2021 to 2022 and projects to double again from 2022 to 203 reaching over a projected $100 million+ in 2023. The numbers narrate a tale of unprecedented growth, driven by strategic planning, innovation, and adaptation to market trends.
Triller’s story is a financial odyssey that started as a platform for short music videos. The proposed TikTok ban first catapulted Triller into a global sensation, when it became the only app to ever reach number one app in the app store in 80 countries. Since that time the company has steadily been building its user base which now stands tall with over 500 million registered users and it effectuates more than 750 million interactions per quarter, driven by an understanding of market dynamics and agility.
Triller’s public listing on the NYSE is a momentous occasion that could resonate throughout the financial and tech worlds. In the era of relentless innovation, Triller is leading the way. The Triller story illustrates that when the right components align, not only can 1 + 1 equal more than 2, it can equal more than 10. A lesson for entrepreneurs, investors, and businesses alike, the Triller phenomenon is a masterstroke in financial innovation, and its reverberations may be felt for generations to come.
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Source: Netflix / Netflix Games
Netflix continues its push to plant itself in the video games market firmly and is now testing its service on more devices.
Two years after the movie streaming giant announced its video games-driven initiative by launching mobile games on its service, Netflix says in a blog post that it will begin testing the service on TVs, PCs, and Macs.
“Our goal has always been to have a game for everyone, and we are working hard to meet members where they are with an accessible, smooth, and ubiquitous service. Today, we’re taking the first step in making games playable on every device where our members enjoy Netflix — TVs, computers, and mobile,” Netflix’s VP of Games, Mike Verdu, said in a blog post.
The blog post also notes that a limited beta test began rolling out to a small number of members in Canada and the UK on August 14 and on PCs and Macs through Netflix.com through supported browsers.
Two Games Will Be Available For Users To Test The Service
As for the games that will be available to play, Verdu says users will be able to play now Netflix Game Studio owned, Night School Studio’s Oxenfree, and Molehew’s Mining Adventure, which the streaming service describes as a “gem-mining arcade game.”
Users can use their smartphones as controllers when playing on TVs, while PC and Mac users can utilize their mouse and keyboards.
Verdu says the beta will serve as the steaming service’s way to work out the kinks as it continues to test its service and controller while improving the member experience.
Verdu notes the company’s initial partners, Amazon Fire TV Streaming Media Players, Chromecast with Google TV, LG TVs, Nvidia Shield TV, Roku devices and TVs, Samsung Smart TVs, and Walmart ONN will all have devices that Games on TV will work on. New devices will be added, “on an ongoing basis.”
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Photo: Netflix / Netflix Games
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Source: Activision / Sledgehammer Games / Call of Duty: Modern Warfare III
The next installment in the rebooted Call of Duty: Modern Warfare franchise has a date, and now we know how much it will cost.
Activision is slowly prepping COD fans for Call of Duty: Modern Warfare III with teases of the title and recently a reveal trailer teasing the return of notorious villain Makarov and Verdansk location. Insider Gaming reports that Modern Warfare III will also be a premium $70 release when it launches, throwing cold water on the idea that the game will be on a DLC add-on for 2022’s Modern Warfare II.
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Notable Call of Duty reporter, CharlieIntel, confirmed the news from Activision that game will be a premium $70 release.
Per CharlieIntel:
Activision has confirmed that Modern Warfare III is a full premium release and will be priced at $70. There is no upgrade price, and it’s not an expansion. “As stated in numerous Activision Blizzard quarterly conference calls, Modern Warfare III is a premium release. It will be price accordingly at $70 USD,” an Activision spokesperson tells CharlieIntel.
In a follow-up post on X, formerly known as Twitter, CharlieIntel explained why Modern Warfare III is listed as an add-on on Steam, and that is due to all Call of Duty games being added to the Call of Duy HQ app.
Is Call of Duty’s Annual Release Strategy Here To Stay?
Activision’s current plans with Call of Duty are a deviation from the rumored strategy change in releasing Call of Duty games. In January 2022, there were rumblings that Activision would ditch the annual release model for the game after Call of Duty: Vanguard flopped.
It appears following the success of Modern Warfare II, Activision hit the pause button on that strategy and is still sticking with its annual release strategy with the Modern Warfare III coming on November 10.
We will have to see what Activision and Sledgehammer will have in store for us in just two days when the MWIII reveal goes down.
Keep it locked on HHW Gaming for all news on Modern Warfare III.
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Photo: Activision / Sledgehammer Games / Call of Duty: Modern Warfare III
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All products and services featured are independently chosen by editors. However, Billboard may receive a commission on orders placed through its retail links, and the retailer may receive certain auditable data for accounting purposes. If you work from home and/or are an avid gamer, the tech you use can impact how you get your work […]
As artificial intelligence remains the hottest topic of 2022, last month President Biden stood alongside big tech leaders as they pledged impotent “voluntary commitments” to control the emerging technology. Those leaders did so fully comprehending the dangers posed by the rapid and unrestricted penetration of AI through society — which are especially grave for artists and creators.
None of the commitments can give anyone in the music or creative industries comfort. They are as basic and malleable as “prioritizing research” and “sharing information on managing AI risks.” It is impossible to monitor big tech’s compliance with them. Even worse, all of the commitments are unenforceable.
We are already experiencing the consequences of the unbridled development and use of AI. Copyrighted material is being routinely ingested and used by AI conglomerates without the consent or even knowledge of rights holders. AI-generated vocals and deepfakes — given prominence by the Fake Drake and The Weeknd’s “Heart On My Sleeve” saga — are prevalent and becoming more realistic by the day. “Artificial streaming” — whereby AI bots create and upload songs, and then artificially inflate streaming numbers — is a massive issue for the streaming industry. Misinformation and inaccuracies in AI output are rampant. Generative AI programs suffer from what experts call “hallucination” — where they make up or misrepresent facts. The victims are widespread, ranging from lawyers given fake legal cases to cite in court papers, to a professor named as the accused in a sexual harassment scandal fabricated by AI.
Nicholas Saady
The lacuna of AI regulation and long wait for decisions in significant AI court cases leaves rights holders, and broader society, at the mercy of big tech. That includes the protagonists of the 2016 Cambridge Analytica scandal (where there were laws in place prohibiting such misconduct), Frances Haugen’s 2021 revelations about Facebook and its platforms’ impact on issues such as teen health and even human trafficking, as well as those being investigated by the FTC for engaging in unfair or deceptive practices causing harm to consumers. Some in this group have recently shown immense hostility to lawmakers, and threatened to leave the EU if it regulates AI. None are those whose history or current actions compel public trust.
We also have minimal, if any — a point recently illustrated by the California Stability AI lawsuit, in which key issues are copyright infringement and data scraping — transparency around the ingestion and scraping of data by companies that own generative AI. Content and data protections were not formulated with current forms of AI in mind. Nor were copyright and right of publicity laws. It is unclear whether they provide sufficient protections, and in any case, are difficult to enforce amidst the black box of AI data ingestion.
Draconian regulation is not the answer to these issues. Nor is inaction. Congress has been exceptionally slow to move. While some lawmakers have proposed legislation, held a few congressional hearings, and suggested new federal agencies to deal with AI, nothing meaningful has resulted. The significant AI litigation is also not progressing quickly. Recently, a Federal Judge indicated that he was inclined to dismiss the California Stability AI lawsuit, but would give the plaintiffs a chance to reformulate their case. This means any decision or guidance is unlikely this year. Similar court cases will not provide definitive guidance soon, and many may settle. Even if decisions are released, they will not be universally applicable.
U.S. Congress’ inaction starkly contrasts the European Union’s continued development of its “AI Act,” which includes important guardrails for the use of AI. For generative AI such as ChatGPT, the AI Act requires disclosure of content generated by AI; prohibitions on the ability to generate illegal content; and publication of copyrighted data used for training. It also prohibits real-time and remote biometric identification systems and cognitive behavioral manipulation using AI. While the final form of the Act is being negotiated, the EU hopes to “reach an agreement by the end” of 2023.
However, the EU AI Act is not a panacea — especially not for artists and creators, as music industry organizations like GESAC, ICMP, IFPI, IMPALA and IMPF recently pointed out to the EU. To properly protect human creativity and rights in creative output, more can be done to increase transparency regarding the data on which AI is trained and record keeping of the same — particularly content which is protected by registered copyrights. Such publicly accessible information will enable artists and creators to determine if their content has been ingested by AI, and also to make fully informed assessments as to whether AI outputs constitute infringement or fair use of their content. Stronger protections around the use of video and audio deepfakes and digital recreations of humans, particularly celebrities, are becoming an increasing priority to protect privacy, creativity and livelihoods.
The stakes are too high for a wait and see approach. We saw what happened when that approach was employed with cryptocurrency: FTX and other similar debacles. The potential impact of generative AI is greater because of its universal application and almost limitless potential. As history and the cacophony of current AI lawsuits make clear, big tech has little regard for the intellectual property, livelihoods and creativity of artists and creators, nor for individuals’ privacy and personal information.
The recent “voluntary commitments” won’t change a thing. Congress should take swift action. It has a unique opportunity to lead the world in AI regulation by passing an enhanced version of the EU AI Act. The risks of inaction amidst the rapid development and use of generative AI — like AI’s capabilities — are in many respects, existentially threatening.
Nicholas Saady is a U.S. and Australian lawyer, who represents high-profile organizations and individuals — including major artists, labels and agents — regarding complex intellectual property, technology and commercial matters. He has also published widely on issues relating to technology, AI, NFTs and cryptocurrency.
Futureverse — a multi-hyphenate AI company — published a new research paper on Thursday (June 9) to introduce its forthcoming text-to-music generator. Called Jen-1, the unreleased model is designed to improve upon issues found in currently available music generators like Google’s MusicLM, providing higher fidelity audio and longer, more complex musical works than what is on the market today.
“Jen is spelled J-E-N because she’s designed to be your friend who goes into the studio with you. She’s a tool,” says Shara Senderoff, co-founder of Futureverse and co-founder of Raised in Space, about the model in an exclusive first-look with Billboard. Predicted to release in early 2024, Jen can form up-to three minute songs as well as help producers with half-written songs through offering ‘continuation’ and ‘in-painting’ as well.
‘Continuation’ allows a music maker to upload an incomplete song to Jen and direct the model to create a plausible idea of how to finish the song, and ‘in-painting’ refers to a process by which the model can fill in spaces of a song that are damaged or incomplete in the middle of the work. To Aaron McDonald, the company’s co-founder, Jen’s role is to “extend creativity” of human artists.
When asked why Jen is a necessary invention during a time in which producers, songwriters and artists are more bountiful than ever, McDonald replied, “I think musicians throughout the ages have always embraced new technology that expands the way they can create music,” pointing to electronic music as one example of how new tools shape musical evolution. “To imply that music doesn’t need [any new] technology to expand and become better now is kind of silly… and arbitrary.”
He also sees this as a way to “democratize” the “high end of music [quality],” which he says is now only accessible to musicians with the means to record at a well-equipped studio and with trained technicians. With Jen, Johnson and Senderoff hope to satisfy the interests of professional musicians and to encourage newcomers to dabble in songwriting, perhaps for the first time. The two co-founders imagine a world in which everyday people can create music, and have nicknamed the products of this type of user as ‘AIGC,’ a twist on the term User Generated Content (or ‘UGC’).
Futureverse was formed piecemeal over the last 18 months, merging eleven different pre-existing AI and metaverse start-ups together into one company to make a number of creative AI models, including those that produce animations, music, sound effects and more. To power their inventions, the company employs the AI protocol from Altered State Machine, a company that was founded by Johnson and included in the merger.
Senderoff says Jen will also be a superior product because Futureverse created it with the input of some of music’s top business executives and creators, unlike its competitors. Though Senderoff does not reveal who the industry partners are or how Jen will be a more ethical and cooperative model for musicians, but she assures an announcement will be released soon providing more information.
Despite its proposed upgrades, Futureverse’s Jen could face significant challenges from other text-to-music generators named in the new research paper, given some were made by the world’s most established tech giants and have already hit the market, but McDonald is unperturbed. “That forces us to think differently. We don’t have the resources that they do, but we started our process with that in mind. I think we can beat them with a different approach: the key insight is working with the music industry as a way to produce a better product.”