Amazon and Nielsen close “Thursday Night Football” ratings deal

Amazon and data measurement firm Nielsen have sealed a three-year deal for measuring the ratings of Prime Video’s “Thursday Night Football” (TNF). Nielsen said that this would be the first time that the firm will include a streaming service and its live streaming program in its National TV measurement service. The firm will begin measuring next Thursday, August 25, during the “Thursday Night Football” preseason game, when the San Francisco 49ers face off against the Houston Texans.

Nielsen will measure viewership of the game, along with the pregame and post-game shows on Prime Video and Twitch. It will also measure out-of-home viewing and the viewers watching in teams’ local markets via over-the-air stations. Out-of-home viewing refers to bars, restaurants, hotels, etc.

“TNF” will be measured and processed like all other NFL games using Nielsen’s panel, the company said. The same metrics will be reported across all other national networks, Nielsen added.

Numerous major media companies have disapproved of Nielsen’s ability to accurately measure streaming services. For instance, Netflix is notorious for not cooperating with outside rating services like Nielsen and prefers to report viewing numbers on its own, making it hard for Nielsen to be accurate. The company has also struggled to adjust to the streaming era, where people watch from portable devices, like laptops, phones and tablets.

After being accused of underreporting viewers during the pandemic, the Media Rating Council took away Nielsen’s National TV rating accreditation last year. However, the company is confident that the deal with Amazon will reinforce “Nielsen’s ability to measure customers’ changing viewing behaviors and how content owners are distributing programming.”

“Nielsen is the long-time leader in the measurement space, providing gold-standard currency to the media industry, and we’re thrilled that Amazon recognizes that and is working with us to bring a streaming service into our National TV measurement for the first time ever,” said Deirdre Thomas, Managing Director, US Audience Measurement Product Sales, Nielsen, in a statement. “We are committed to delivering comparable, comprehensive measurement of all audiences across all platforms, and this agreement to measure TNF viewership is a testament to that commitment.”

Amazon claims the deal will benefit its company as well since the measurements can provide advertisers with direct comparisons across their media investments.

Srishti Gupta, Director of Media Measurement, Amazon Ads, said, “Advertisers will have access to metrics from Amazon that will provide actionable insights to understand brand awareness, engagement, and sales. This powerful combination of first and third-party measurement is something only Amazon can provide.”

Also, it’s possible Nielsen’s “Thursday Night Football” measurement can offer an idea of how many Amazon Prime Video domestic subscribers the retail giant has since it doesn’t report that specific number. Prime itself has over 200 million members, but consumers can pay for Prime Video separately if they choose. Protocol recently reported data from JustWatch, stating that Amazon Prime Video makes up 20% of the U.S. streaming market.

According to The Wall Street Journal, media buyers said that Amazon had told advertisers it projects an average audience of 12.6 million viewers a game. This is less than last season when an average 16.4 million viewers watched “Thursday Night Football” across Prime Video, Fox, and the NFL Network. In total, over 80 million households own Amazon devices, per market research company Consumer Intelligence Research Partners.

Last year, Amazon settled a deal with the National Football League, winning rights to “Thursday Night Football” for 11 seasons. The agreement makes the games exclusive to Amazon when previously, the games were also available on Fox and the NFL Network. The 15-game “TNF” regular season begins on September 15 when the Los Angeles Chargers play against the Kansas City Chiefs. There will be 29 of the NFL’s 32 clubs appearing on “TNF” this year.

Broadcasters Al Michaels and Kirk Herbstreit will provide commentary on the live-action games, while former NFL quarterback Ryan Fitzpatrick, All-Pro cornerback Richard Sherman, and Pro Football Hall of Famer Tony Gonzalez are the analysts for pregame, halftime, and postgame coverage. The shows will be hosted by sports anchor Charissa Thompson.

The streaming service also plans to offer an alternative feed hosted by Dude Perfect, a sports and comedy group popular for trick shots and stunts.

Amazon recently added a dedicated sports tab that helps subscribers easily find live sports, replays, highlights, and more.

Spotify prompts some users to record reaction podcasts to playlists

After testing new in-app podcast recording tools for users in New Zealand, Spotify is now trialing a new audio feature in Vietnam, one that’s designed to encourage users to record voice reactions to playlists.

A Reddit user posted screenshots of the feature, showing how they received a prompt to react to a playlist with a voice clip that will be posted as a podcast episode. As per its previous test in New Zealand, it’s fair to assume that these reaction ‘podcasts’ will be published directly to creators’ personal profilers where followers will be able to listen.

The screenshots show that users included in the test are seeing a microphone icon on playlist screens, and upon tapping that, they see a new screen that prompts them to record a voice reaction to the playlist.

Users are seeing a mic icon to record a voice reaction to a playlist Image Credits: Reddit (opens in a new window)

Once they hit the button, they can either record in one go or multiple clips by pausing. Later, they can edit the clip, add background music, and tag the playlist before publishing.

This workflow is similar to the test in New Zealand, except in that test, the starting point was a “Record Podcast” button on the home screen. So this test is more about giving a prompt to users who might not have a podcast idea in their mind.

Spotify podcast

Spotify shows some rules creators must follow for podcast recording for safety Image Credits: Reddit (opens in a new window)

Spotify has confirmed the test, but the company didn’t share any details about what locations the feature is available, and how it plans to moderate these voice reactions.

“At Spotify, we are always looking for ways to enhance our users’ experience on our platform, and we regularly test features that we believe will bring value to listeners and creators. We are currently running a limited test of in-app audio creation, but have no further details to share at this time,” the company said in a statement to TechCrunch.

As we noted in our story in June, a lot of these features are powered by Spotify-owned podcast creation app Anchor. These tests indicate that the streaming giant is trying to convert listeners to creators by providing them with easy in-app tools to make and publish podcasts.

In its Q2 2022 earnings last month, Spotify said it now has 4.4 million podcasts on the platform, and users engaging with them have grown at a “substantial double digits year-on-year.” Spotify has invested more than $1 billion in podcasting in the last few years with €83 million ($84.3 million) invested this year alone to acquire podcast analytics companies Podsights and Chartable.

YouTube may launch a channel store for streaming services, report says

YouTube may be looking to launch an online channel store for streaming services through the YouTube app, positioning itself in direct competition with Amazon, Roku, and Apple, three tech giants that each offer its own streaming subscription hubs.

As reported by the Wall Street Journal, sources say the company has been working on its channel store for 18 months and plans to roll out the offering this fall. YouTube is apparently in talks with several entertainment companies and is discussing sharing subscription revenue with streaming partners.

The company declined to comment to the Wall Street Journal. TechCrunch also reached out to YouTube for comment but has not yet received a response. (We’ll update if that changes.)

If YouTube were to get a marketplace for streaming services, it would make it easier for subscribers to purchase multiple services through a single app. While YouTube TV already offers its subscribers a way to add services like HBO Max to their streaming package, the new channel store would allow consumers to subscribe to separate streaming services through the main YouTube app.

The move makes a lot of sense for YouTube. Instead of spending tons of money on original content (remember YouTube Originals?), the tech company can provide access to other streaming services and still generate revenue. YouTube would act as a middleman between streamer and subscriber, taking a percentage of the subscription fee.

Plus, with around 2 billion viewers a month, a YouTube channel store would be an enticing partner for streaming services that want to reach more subscribers via the popular entertainment app.

YouTube isn’t the only media company looking to make revenue with streaming services. Roku now provides a premium Paramount+ subscription on the Roku Channel. Today, Walmart announced that it partnered with Paramount+ to give Walmart+ subscribers a Paramount+ Essential subscription at no extra cost.

Walmart+, the retailer’s Prime competitor, will add Paramount+ access as a new perk

Walmart is partnering with Paramount Global to offer its streaming service, Paramount+, to members of Walmart’s own free shipping program and Amazon Prime rival, Walmart+. The deal was first confirmed by The Wall Street Journal on Monday afternoon, following recent news of the retailer’s discussions with major media companies about such an arrangement.

Walmart has now officially announced the news of its agreement but did not say when access to the steaming service would roll out to Walmart+ members.

However, the retailer said the deal will see Walmart+ members gaining access to Paramount+ Essential Plan subscription — an added $59 value — while its own membership pricing would stay the same.

Introduced in 2020, the $98 per year Walmart+ subscription includes a variety of benefits, including free same-day delivery, fuel discounts, free shipping from Walmart.com, in-home delivery, contact-free checkout with Scan & go, and early access to deals. Walmart also has a partnership with Spotify to offer members 6 months of Spotify Premium for free.

In addition to the annual fee, consumers can opt to pay for Walmart+ at a rate of $12.95 per month for the same perks.

Last week, The New York Times reported Walmart had been in discussions with several major media companies about a possible bundle deal with Walmart+. According to The NYT, Walmart had spoken to Paramount, Disney, and Comcast about bundling its shipping membership program with either Paramount+, Disney+/ESPN+/Hulu, or Peacock, respectively.

The new partnership with Paramount not only provides Walmart with a more competitive offering to rival Amazon Prime — which includes the streaming service Prime Video — it could also help boost lagging Walmart+ subscriptions.

An August 2022 report by Consumer Intelligence Research Partners (CIRP) found that Walmart+ membership subscriptions had plateaued and were now on a slight decline on a quarter-over-quarter basis. It said that as of this July, 11 million customers in the U.S. were Walmart+ members, the same as in the April 2022 quarter and up from 9 million customers in the July 2021 quarter. But the report indicated the membership program had yet to grow in 2022.

“For the last three quarters, membership has remained constant at 11 to 11.5 million customers,” noted CIRP co-founder Josh Lowitz. Before this, he added, “Walmart+ membership had increased steadily since Walmart introduced the program in September 2020, with COVID-19 pandemic shoppers signing up.”

Walmart has not officially disclosed how many of its customers are now Walmart+ subscribers. CIRP, however, estimated that Walmart+ penetration was at 25% for the July 22 quarter, meaning 25% of Walmart.com customers reported being a Walmart+ member. This was up from 17% of Walmart.com customers in the July 2021 quarter, the analysts said. (The firm’s forecasts are based on surveys, in this case of some 500 U.S. consumers who made purchases during the May-June 2022 period.)

A different study by Morgan Stanley, referenced by the Journal, estimated Walmart+ had grown to around 16 million members.

For Paramount+, an agreement to distribute through Walmart+ would provide its own competitive advantage amid an increasingly crowded streaming landscape where it has to go head-to-head with top services like Netflix, Disney+, HBO Max, Apple TV+, and Peacock. Earlier this month, Paramount said the Paramount+ service had grown to 43 million subscribers and had a longer-term goal of reaching 100 million subscribers by 2024.

Walmart was not able to immediately comment on The WSJ’s reporting but we understand it to be accurate. We’ll update when we have more.

Update 8/15/22, 4:18 PM ET: Walmart has officially confirmed the news.

This is not the first time Walmart has entered into the streaming market. The company acquired the on-demand video service Vudu in 2010 but sold it to Comcast’s Fandango in 2020. It also invested in interactive video company Eko and partnered with Roku in June to bring shoppable ads to the streaming media platform.

Layoffs hit HBO Max as 70 employees lose their jobs

The rumored layoffs are coming true: Warner Bros. Discovery, the newly merged parent company to HBO, is cutting personnel costs.

Fourteen percent of staff under HBO and HBO Max chief content officer Casey Bloys will be laid off, impacting 70 employees. The New York Times reports that unscripted and live-action family programming for HBO Max, the streaming service, were most affected. Other cuts impacted HBO Max’s casting, acquisitions and international departments. Unscripted shows that are considered successful are expected to continue.

This restructuring comes after AT&T’s WarnerMedia officially merged with Discovery, Inc. in April. Under terms of the agreement, AT&T received $43 billion in cash and debt. But the company still has a debt load of $53 billion and is trying to cut costs to save $3 billion in 2023.

In major tech mergers, layoffs are expected to eliminate redundancies. But fans of HBO Max programming were enraged by the rumors of these layoffs, which began circulating in earnest a few weeks ago, worrying that original scripted shows like “Hacks,” “Our Flag Means Death” or “The Flight Attendant” would be cancelled. So far, HBO Max’s original scripted shows haven’t been impacted.

It makes sense why fans are concerned, though. As these rumors circulated, Warner Bros. Discovery CEO David Zaslav announced that the company would shelve the DC Comics adaptation “Batgirl,” even though the film was already finished and cost at least $70 million. Zaslav added that the sequel to an animated Scooby Doo movie wouldn’t be released either. To make matters worse, viewers noticed that HBO Max had quietly removed six original movies from its service, which featured talent like Anne Hathaway, Seth Rogen and Cole Sprouse.

It’s already been a rough year for the newly merged media mammoth. Warner Bros. Discovery also pulled the plug on its CNN+ streaming service just one month after launch, costing the company $300 million.

TechCrunch staff asks: What’s really the best Taylor Swift song?

While TechCrunch is a Very Serious Publication, at times we wind up a little off-topic in our internal conversations. We talk video games. We talk bad reality television. We riff on sports and pets and our families. And we talk about music.

Naturally, with as diverse a group as our team, viewpoints vary. But one notable point of commonality is Taylor Swift. Yes, your tech news is frequently prepared by a dyed-in-the-wool Swiftie. Perhaps even more often than not.

This raises an important question: Which Taylor tune is really the best? After realizing how many of us scribblers had an opinion on the matter, we decided to make our case in a public manner. What follows is a series of arguments – written in three-views style, albeit with more players – about which Taylor Swift song truly sits above the rest.

We welcome your public comment, of course, but note in advance that if you don’t agree with at least one of us, we all think that you are flat-out wrong.

Alex Wilhelm: Wildest Dreams

I view my Taylor Swift fandom as indicative of her universality. I am presently counting down for new records from In Flames, Lorna Shore, and other heavy metal bands that very few readers of this article are going to put on when they drop. That’s fine; musical tastes are personal. And yet here we are, sharing our passion for Swift’s singing and songwriting, despite our different musical preferences more generally.

The universality point is not merely one about her musical type being welcome by folks of many musical bents, however. It goes deeper.

Listening to Taylor’s discography is to watch her grow up. And as – per a quick peruse of her Wikipedia page – she and I are within a half-year of age, her transition from youth to young adult to 30-something has also been my own; her catalog essentially tracks my own maturity arc. But as we can see from her older and younger fans, the same life progression resonates with folks even apart from the age that she and I share.

Why is that? Lyrics, in essence. Taylor’s tunes kick off somewhere in the realm of youthful insecurity (“Fifteen,” etc.), progress into an era of confidence (“Shake It Off”), through a period of experimentation and anger (“Look What You Made Me Do”), and finally wind up in the pandemic era, when she managed to make cottage-core cool (“Cardigan,” “‘Tis the Damn Season”), writing to us from a place of emotional resilience, now past her more turbulent 20s.

Yep, that hits home. Inside those albums are a host of standout tunes, some of which I mentioned above. Which is my favorite? As an imported Rhode Islander with some claim to Midwest roots, you might imagine that “The Last Great American Dynasty” would be my go-to. It’s a killer tune, but not my all-time fave.

No, the best Taylor Swift song is “Wildest Dreams.” Why? It is the platonic ideal of Taylor’s patented mix of melancholy, melody, and optimism; it blends her eras, her growing up, really, into a single, perfect, song. By bringing so much of what Taylor does well into a package of less than four minutes, it’s the correct song to cite as her best.

Thanks, Tay. Keep writing.

Dominic-Madori Davis: State of Grace (Taylor’s Version)

If I remember correctly, one of the first vinyls I ever bought was Taylor Swift’s “Red.” I was in high school, and something about that album encapsulated the anger, confusion, and wistful hopefulness I felt at the time. I never considered myself a Swiftie growing up, but looking back, much of her music laid the soundtrack for my life.

Last year, for some reason, I listened to “Seven” more than 350 times as we all re-entered life after pandemic lockdowns; the newness yet the familiarity of life left me longing for something only that tune could touch.

There was “August,” the salt air, and the “Long Pond Sessions.” I think of the masterful lyrics of “This Love” from “1989” or even “New Year’s Eve” from “Reputation.” The album “Lover” was quite nice, and who hasn’t screamed the chorus of “Cruel Summer” at least once in their heads, in their cars, with their friends? “Evermore” can have a shoutout here; I remember “Cowboy Like Me” was the first song I dramatically put on when I realized my crush had a girlfriend, and “Long Story Short” followed when they broke up.

Perhaps mostly, I recall those early Taylor days with me spinning around in my bedroom listening to “Enchanted” or looking out the window as my mother drove me home with “The Best Day” playing softly in the background. I remember when I first heard “Tear Drops on My Guitar” on the radio. I was a kid in the backseat of my mom’s car.

I don’t think anyone knew at the time what that hit single would lead to, and each time Taylor re-releases her old albums, I feel like that child once again in the backseat, even though I’m an adult, somewhere in New York City, finally understanding what those emotions all mean.

Though, no matter what Taylor does, I am always drawn back to “Red.” I love “The Lucky One,” and it reminds me of when I went to school in Los Angeles and had my first encounter with Hollywood. I was new to town, in the Angel City, around those seeking fortune and fame. I once wrote a college essay about “Treacherous,” about those moments of intense passion and often unrequited love. Even when I turned 22, nearly a decade after the album was released, the first song I put on at midnight as — well, I think it’s obvious at this point.

What I’m trying to say is that it’s pretty hard to choose what Taylor’s best song is. It for sure exists on “Red,” as that album holds some of her best lyrics; scathing, raw, forgiving, and sanguine. I mean, have you ever called someone up again just to break them like a promise?

Today, I’m much older than when that album first came out. I’m not sure what her best work is, but I can say this for sure: The acoustic version of “State of Grace” matched with the stadium rendition hits the tense two-sided coin that is the uncertain lust of one’s 20s. That’s where I am right now — so at least for today, I’ll have to go with that one.

Amanda Silberling: All Too Well (Taylor’s Version)

I wouldn’t call myself a Swiftie, mostly because when I was most primed for Taylor Swift fandom – my teenage years – I was suffering from an undiagnosed case of internalized misogyny, trying to make everyone think I was cool because I listened to the Velvet Underground. Now, as an adult, basically all I know about Taylor Swift is that she’s obsessed with the number 13, her fans should maybe stop harassing journalists for writing an 8/10 album review, and that she gets way too much flack for being a woman who dates people and writes about it.

But something I am unequivocally obsessed with is whatever the internet is talking about on any given day, so every time a new (Taylor’s Version) dropped, I wanted to know what the discourse was about. And the Swiftie discourse was never louder than the day that the 10-minute version of “All Too Well” dropped. Ten minutes? What is this, some progressive metal song that Alex would listen to?

But that song deserves to be 10 minutes long, and I’m a terminally online millennial with a social media addiction, so if I can be entertained by an artist I’m not obsessed with for 10 minutes, you know she’s good.

I didn’t even know that Taylor Swift had dated Jake Gyllenhaal until that song dropped (chill, she’s not complaining about her 10-years-ago ex, she’s re-recording music that Scooter Braun is holding hostage, which is really badass of her, so get over yourself). But damn. “You called me up again just to break me like a promise/so casually cruel in the name of being honest.” Fuck internalized misogyny; Taylor Swift can write. That lyric took me right back to when my high school crush told me that he wouldn’t date me because I wasn’t mentally healthy enough. To be fair, he was right – don’t worry, I’m in therapy now! – but did he have to say it like that? If “casually cruel in the name of being honest” doesn’t yank you straight back to your failed attempts at teenage romance, I envy you.

When Taylor’s version of “All Too Well” dropped, I probably tweeted something about how I never even knew the original version, but this song slapped – and then my internet friend Giovanni sent me a playlist he made called “T Swift is good, actually,” which he just always has on hand to convince people that Taylor Swift is good.

I gotta say, he did convince me.

Anita Ramaswamy: Blank Space

Much like Amanda, my own adolescence was defined by music that was a far cry from Taylor Swift’s sugary pop-country crossover tunes. I found solace in sitting in the back row of my class, blasting “I’m Not Okay” by My Chemical Romance into my skull through a single earbud because it was uncool to use both simultaneously. Swift, meanwhile, was a conventionally attractive blonde woman who didn’t make me feel particularly seen as a gangly, outspoken Indian high schooler surrounded by, well, pageant queens (I grew up in Scottsdale, Arizona. Leave me alone).

But there’s a distinct moment I remember Swift really seeing me, piercing through my soul, laying it bare. It’s when I saw her in the “Blank Space” music video, destroying a classic car with a golf club outside a luxurious mansion. This was the moment that marked, in my eyes, Swift’s transformation from a perfect pop princess into a real person, with anger and raw emotion and plenty of flaws.

The best part is that Swift was doing it all on her own terms and refusing to be put in a box: “Keep you second-guessing like, oh my god, who is she?” After years of having her narrative defined by what other people said about her, here Swift was, getting loud and wild and signaling to the world that she was going to do what she wanted to do, regardless of what people thought. Demanding to be seen as she is, and in the process, seeing me.

Annie Saunders: They’re all the best and if you wanna fight about it we meet in the park at dawn

As a 30-something woman who recently exited a 10-year marriage, it goes without saying I’ve been listening to a ton of Taylor Swift. Nonstop Taylor Swift. An absolute wall of Taylor Swift.

So sure, “We Are Never Ever Getting Back Together” and “I Knew You Were Trouble” were totally contenders here. They’re absolute fucking bops that have been on repeat for the last year-plus. My 4-year-old son knows all the words to at least a dozen Taylor Swift songs; at the moment, he sings “Wildest Dreams” till he falls asleep every night, adding weight to Alex’s argument.

I eschewed Swift for a good chunk of my late 20s and early 30s (see Amanda’s point re: internalized misogyny), and it’s only now — with the context of the pandemic, 15 years in the workforce, a divorce, a child, Trump, #metoo — that I recognize what a confidence-booster she’s been not just for me, but for lots and lots of women around my age.

This is hard! She has so many songs that validate my emotions! I mean, ever take a hard listen to “Mad Woman” and recall all the times you’ve been gaslit? What about “The Man”? “I’m so sick of running as fast as I can, wondering if I’d get there quicker if I was a man.” It’s a must-listen in advance of a salary negotiation. I sometimes feel like she wrote “Long Story Short” just for me.

I can’t do it; I can’t choose. I celebrate her entire oeuvre. It’s all the best. And if you don’t think so, I’m up for fighting about it … because I listen to so much Taylor Swift.

This startup is setting a DALL-E 2-like AI free, consequences be damned

DALL-E 2, OpenAI’s powerful text-to-image AI system, can create photos in the style of cartoonists, 19th century daguerreotypists, stop-motion animators and more. But it has an important, artificial limitation: a filter that prevents it from creating images depicting public figures and content deemed too toxic.

Now an open source alternative to DALL-E 2 is on the cusp of being released, and it’ll have no such filter.

London- and Los Altos-based startup Stability AI this week announced the release of a DALL-E 2-like system, Stable Diffusion, to just over a thousand researchers ahead of a public launch in the coming weeks. A collaboration between Stability AI, media creation company RunwayML, Heidelberg University researchers, and the research groups EleutherAI and LAION, Stable Diffusion is designed to run on most high-end consumer hardware, generating 512×512-pixel images in just a few seconds given any text prompt.

Stability AI Stable Diffusion

Stable Diffusion sample outputs.

“Stable Diffusion will allow both researchers and soon the public to run this under a range of conditions, democratizing image generation,” Stability AI CEO and founder Emad Mostaque wrote in a blog post. “We look forward to the open ecosystem that will emerge around this and further models to truly explore the boundaries of latent space.”

But Stable Diffusion’s lack of safeguards compared to systems like DALL-E 2 poses tricky ethical questions for the AI community. Even if the results aren’t perfectly convincing yet, making fake images of public figures opens a large can of worms. And making the raw components of the system freely available leaves the door open to bad actors who could train them on subjectively inappropriate content, like pornography and graphic violence.

Creating Stable Diffusion

Stable Diffusion is the brainchild of Mostque. Having graduated from Oxford with a Masters in mathematics and computer science, Mostque served as an analyst at various hedge funds before shifting gears to more public-facing works. In 2019, he co-founded Symmitree, a project that aimed to reduce the cost of smartphones and internet access for people living in impoverished communities. And in 2020, Mostque was the chief architect of Collective & Augmented Intelligence Against COVID-19, an alliance to help policymakers make decisions in the face of the pandemic by leveraging software.

He co-founded Stability AI in 2020, motivated both by a personal fascination with AI and what he characterized as a lack of “organization” within the open source AI community.

Stable Diffusion Obama

An image of former president Barrack Obama created by Stable Diffusion.

“Nobody has any voting rights except our 75 employees — no billionaires, big funds, governments or anyone else with control of the company or the communities we support. We’re completely independent,” Mostaque told TechCrunch in an email. “We plan to use our compute to accelerate open source, foundational AI.”

Mostque says that Stability AI funded the creation of LAION 5B, an open source, 250-terabyte dataset containing 5.6 billion images scraped from the internet. (“LAION” stands for Large-scale Artificial Intelligence Open Network, a nonprofit organization with the goal of making AI, datasets and code available to the public.) The company also worked with the LAION group to create a subset of LAION 5B called LAION-Aesthetics, which contains AI-filtered images ranked as particularly “beautiful” by testers of Stable Diffusion.

The initial version of Stable Diffusion was based on LAION-400M, the predecessor to LAION 5B, which was known to contain depictions of sex, slurs and harmful stereotypes. LAION-Aesthetics attempts to correct for this, but it’s too early to tell to what extent it’s successful.

Stable Diffusion

A collage of images created by Stable Diffusion.

In any case, Stable Diffusion builds on research incubated at OpenAI as well as Runway and Google Brain, one of Google’s AI R&D divisions. The system was trained on text-image pairs from LAION-Aesthetics to learn the associations between written concepts and images, like how the word “bird” can refer not only to bluebirds but parakeets and bald eagles, as well as more abstract notions.

At runtime, Stable Diffusion — like DALL-E 2 — breaks the image generation process down into a process of “diffusion.” It starts with pure noise and refines an image over time, making it incrementally closer to a given text description until there’s no noise left at all.

Boris Johnson Stable Diffusion

Boris Johnson wielding various weapons, generated by Stable Diffusion.

Stability AI used a cluster of 4,000 Nvidia A1000 GPUs running in AWS to train Stable Diffusion over the course of a month. CompVis, the machine vision and learning research group at Ludwig Maximilian University of Munich, oversaw the training, while Stability AI donated the compute power.

Stable Diffusion can run on graphics cards with around 5GB of VRAM. That’s roughly the capacity of mid-range cards like Nvidia’s GTX 1660, priced around $230. Work is underway on bringing compatibility to AMD MI200’s data center cards and even MacBooks with Apple’s M1 chip (although in the case of the latter, without GPU acceleration, image generation will take as long as a few minutes).

“We have optimized the model, compressing the knowledge of over 100 terabytes of images,” Mosque said. “Variants of this model will be on smaller datasets, particularly as reinforcement learning with human feedback and other techniques are used to take these general digital brains and make then even smaller and focused.”

Stability AI Stable Diffusion

Samples from Stable Diffusion.

For the past few weeks, Stability AI has allowed a limited number of users to query the Stable Diffusion model through its Discord server, slowing increasing the number of maximum queries to stress-test the system. Stability AI says that over 15,000 testers have used Stable Diffusion to create 2 million images a day.

Far-reaching implications

Stability AI plans to take a dual approach in making Stable Diffusion more widely available. It’ll host the model in the cloud, allowing people to continue using it to generate images without having to run the system themselves. In addition, the startup will release what it calls “benchmark” models under a permissive license that can be used for any purpose — commercial or otherwise — as well as compute to train the models.

That will make Stability AI the first to release an image generation model nearly as high-fidelity as DALL-E 2. While other AI-powered image generators have been available for some time, including Midjourney, NightCafe and Pixelz.ai, none have open-sourced their frameworks. Others, like Google and Meta, have chosen to keep their technologies under tight wraps, allowing only select users to pilot them for narrow use cases.

Stability AI will make money by training “private” models for customers and acting as a general infrastructure layer, Mostque said — presumably with a sensitive treatment of intellectual property. The company claims to have other commercializable projects in the works, including AI models for generating audio, music and even video.

Stable Diffusion Harry Potter

Sand sculptures of Harry Potter and Hogwarts, generated by Stable Diffusion.

“We will provide more details of our sustainable business model soon with our official launch, but it is basically the commercial open source software playbook: services and scale infrastructure,” Mostque said. “We think AI will go the way of servers and databases, with open beating proprietary systems — particularly given the passion of our communities.”

With the hosted version of Stable Diffusion — the one available through Stability AI’s Discord server — Stability AI doesn’t permit every kind of image generation. The startup’s terms of service ban some lewd or sexual material (although not scantily-clad figures), hateful or violent imagery (such as antisemitic iconography, racist caricatures, misogynistic and misandrist propaganda), prompts containing copyrighted or trademarked material, and personal information like phone numbers and Social Security numbers. But Stability AI won’t implement keyword-level filters like OpenAI’s, which prevent DALL-E 2 from even attempting to generate an image that might violate its content policy.

Stable Diffusion women

A Stable Diffusion generation, given the prompt: “very sexy woman with black hair, pale skin, in bikini, wet hair, sitting on the beach.”

Stability AI also doesn’t have a policy against images with public figures. That presumably makes deepfakes fair game (and Renaissance-style paintings of famous rappers), though the model struggles with faces at times, introducing odd artifacts that a skilled Photoshop artist rarely would.

“Our benchmark models that we release are based on general web crawls and are designed to represent the collective imagery of humanity compressed into files a few gigabytes big,” Mostque said. “Aside from illegal content, there is minimal filtering, and it is on the user to use it as they will.”

Stable Diffusion Hitler

An image of Hitler generated by Stable Diffusion.

Potentially more problematic are the soon-to-be-released tools for creating custom and fine-tuned Stable Diffusion models. An “AI furry porn generator” profiled by Vice offers a preview of what might come; an art student going by the name of CuteBlack trained an image generator to churn out illustrations of anthropomorphic animal genitalia by scraping artwork from furry fandom sites. The possibilities don’t stop at pornography. In theory, a malicious actor could fine-tune Stable Diffusion on images of riots and gore, for instance, or propaganda.

Already, testers in Stability AI’s Discord server are using Stable Diffusion to generate a range of content disallowed by other image generation services, including images of the war in Ukraine, nude women, an imagined Chinese invasion of Taiwan, and controversial depictions of religious figures like the Prophet Mohammed. Many of the results bear telltale signs of an algorithmic creation, like disproportionate limbs and an incongruous mix of art styles. But others are passable on first glance. And the tech, presumably, will continue to improve.

Nude women Stability AI

Nude women generated by Stable Diffusion.

Mostque acknowledged that the tools could be used by bad actors to create “really nasty stuff,” and CompVis says that the public release of the benchmark Stable Diffusion model will “incorporate ethical considerations.” But Mostque argues that — by making the tools freely available — it allows the community to develop countermeasures.

“We hope to be the catalyst to coordinate global open source AI, both independent and academic, to build vital infrastructure, models and tools to maximize our collective potential,” Mostque said. “This is amazing technology that can transform humanity for the better and should be open infrastructure for all.”

Stable Diffusion Zelensky

A generation from Stable Diffusion, with the prompt: “[Ukrainian president Volodymyr] Zelenskyy committed crimes in Bucha.”

Not everyone agrees, as evidenced by the controversy over “GPT-4chan,” an AI model trained on one of 4chan’s infamously toxic discussion boards. AI researcher Yannic Kilcher made GPT-4chan — which learned to output racist, antisemitic and misogynist hate speech — available earlier this year on Hugging Face, a hub for sharing trained AI models. Following discussions on social media and Hugging Face’s comment section, the Hugging Face team first “gated” access to the model before removing it altogether, but not before it was downloaded over a thousand times.

War in Ukraine Stability AI

“War in Ukraine” images generated by Stable Diffusion.

Meta’s recent chatbot fiasco illustrates the challenge of keeping even ostensibly safe models from going off the rails. Just days after making its most advanced AI chatbot to date, BlenderBot 3, available on the web, Meta was forced to confront media reports that the bot made frequent antisemitic comments and repeated false claims about former U.S. president Donald Trump winning reelection two years ago.

BlenderBot 3’s toxicity came from biases in the public websites that were used to train it. It’s a well-known problem in AI — even when fed filtered training data, models tend to amplify biases like photo sets that portray men as executives and women as assistants. With DALL-E 2, OpenAI has attempted to combat this by implementing techniques, including dataset filtering, that help the model generate more “diverse” images. But some users claim that they’ve made the model less accurate than before at creating images based on certain prompts.

Stable Diffusion contains little in the way of mitigations besides training dataset filtering. So what’s to prevent someone from generating, say, photorealistic images of protests, “evidence” of fake moon landings and general misinformation? Nothing really. But Mostque says that’s the point.

Stable Diffusion protest

Given the prompt “protests against the dilma government, brazil [sic],” Stable Diffusion created this image.

“A percentage of people are simply unpleasant and weird, but that’s humanity,” Mostque said. “Indeed, it is our belief this technology will be prevalent, and the paternalistic and somewhat condescending attitude of many AI aficionados is misguided in not trusting society … We are taking significant safety measures including formulating cutting-edge tools to help mitigate potential harms across release and our own services. With hundreds of thousands developing on this model, we are confident the net benefit will be immensely positive and as billions use this tech harms will be negated.”

Fox-owned Tubi expands its free streaming service to five Latin American countries

Tubi, the free ad-supported streaming service owned by Fox, is now available in Costa Rica, Ecuador, El Salvador, Guatemala and Panama — an expansion that has doubled its global footprint and signals the company’s interest in capturing more Latin American viewers.

Consumers in these five Latin American countries now have access to Tubi’s library and will be able to watch titles — with either subtitles or dubbed in Spanish — on a variety of devices such as desktops, iPhones, iPads, Apple TVs, LG TVs, Samsung TVs, Roku TVs, Amazon Fire TV Stick devices, VIDAA Smart OS on Hisense TVs, Google TVs and other Android TV OS devices, plus Microsoft Store on Windows. Ecuador is the only country where Roku is not supported.

In addition to free movies like “The Green Hornet,” “Hellboy,” “American Psycho” and others — viewers in the five countries can also stream regionally produced TV series such as “Bienvenida Realidad,” “Atrapada” and “El Sexo Debil,” plus local versions of “The Nanny,” “Bewitched” and “Married with Children.” Tubi will also offer TV series “L.A.’s Finest” and “Masters of Sex.”

Tubi has been slower to expand to other countries than its competitors. Disney+ has launched in more than 80 countries and is aiming for a total of 160 countries by 2023. Netflix is streaming in 190 countries. Tubi is available in the United States, Canada, Mexico, New Zealand and Australia, as well as the aforementioned additional five Latin American countries.

Tubi’s expansion in Latin America puts it in a better position in the race for world expansion as Latin America is a growing market and a big focus for streaming services. LABS (Latin America Business Stories) predicted that Latin America’s streaming subscriptions will more than double in the next three years, reaching 110 million viewers in 2025. The company told TechCrunch that further expansion in Latin America is not yet determined.

“We’re delighted to launch our platform in these five Latin American countries, bringing viewers a mix of locally-produced content, Spanish-language favorites, and Hollywood titles,” Adam Lewinson, Tubi’s chief content officer, said in a statement. “We’re eager to expand deeper into Latin America after the stellar success of Tubi in Mexico, which has seen tremendous growth in such a short amount of time.”

Tubi launched in Mexico in 2021, bringing viewers a localized Spanish-language app in partnership with TV Azteca, a media company in Mexico with four television networks. Tubi boasted in Thursday’s announcement that the streaming service saw total viewing time in Mexico rise 60% year-over-year and total viewers increase 40% year-over-year.

Fox reported in its fourth-quarter earnings yesterday that Tubi saw an increase in monthly active users (MAUs) of nearly 40%. In the quarter prior, the streamer announced a total of 51 million active users. Last year, Tubi had 33 million.

CEO Lachlan Murdoch remarked in Wednesday’s earnings call, “We will continue to invest judiciously in Tubi with our sights set on achieving $1 billion in revenue run rate in the next couple of years.”

Fox acquired Tubi in 2020 for $440 million and will continue to invest in the platform. In the past year, the service saw a 45% growth in revenue.

Plex introduces a social experience to its streaming app with launch of ‘Discover Together’

Streaming media platform Plex, already an expansive service for personal media, free streaming TV, and new content discovery, is venturing into a new area with today’s launch of a new feature, Discover Together. The friends-focused feature is laying the groundwork to develop Plex as not just a streaming hub, but a streaming community. Initially, this includes the ability to add friends and see what they’re watching, bookmarking and how they’re rating shows and movies.

Over time, Plex plans to leverage community engagement to help power its recommendations and, potentially, allow for streamers to engage in discussions around favorite content. This could help the service better compete with online TV communities like TV Time, which combines a TV show tracker with active discussions around shows, movies, and individual episodes.

 

At launch, however, the Discover Together feature will remain fairly private. Plex users can fill out their profile on the app with information about their Plex Pass status, location, and more, then add friends individually using their Plex email or username. There is no address book upload or contact matching feature built-in at this time. Users can also choose which parts of their in-app activity they want to make visible to friends. Items including their Watchlist, Watch History and Ratings can each be set to either Private or Friends Only depending on what parts of your Plex usage you want to share.

Even if you set all items to be visible to friends, you can still hide select activities on an individual basis from the Discover section’s Activity feed. Here, you’ll tap on the three-dot menu next to items you’ve watched, watchlisted, or rated to hide them, if you choose. (So, for instance, if you don’t want your friends to know you’ve been binging your way through cheesy reality TV shows, you can remove those from being seen in their feeds, while keeping track of your episode viewing privately.)

Image Credits: Plex

After adding friends on the service, you’ll be able to scroll through the Activity feed to see what shows and movies they’ve been watching, saving and rating. Plex is considering a feature that would display your friends’ ratings on a show or movie’s title page, as well, alongside the Rotton Tomatoes ratings. But for the time being, the app will simply highlight if a friend has engaged with a title in an area below the “Add to Watchlist” button. You can click on that banner to see a curated stream of your friends’ activities with the show or movie in question.

Image Credits: Plex

From the Activity feed, you can communicate privately with friends through an in-app messaging feature available from a chat icon below their posts. This isn’t meant to be a fully-featured messaging client, but rather a way to send a quick text about the movie or show, which they can reply to. You can also share a title and a message directly with a friend or even a group of friends by clicking the Share icon on the title’s page in the app.

Image Credits: Plex

While in the past, Plex has launched its new features to all users in a more public format, it’s rolling out the beta test of Discover Together by announcing it in its forums and allowing users to opt-in. This way, Plex can ramp up the number of users for the feature more slowly, as each new user will need to invite their friends to the service to get started.

The feature is being beta tested on the web, iOS, and Android. It follows a major update to the streaming media platform this April which delivered a number of new additions including a universal watchlist, cross-service search and new discovery features — including the new Discover section where the Discover Together feature is now housed.

Plex believes the long-term potential for its community features will allow it to turn its app into a more social experience and a second-screen companion for TV viewing.

“One of the early goals…is to start sharing and getting recommendations from friends,” explains Plex co-founder and Chief Product Officer Scott Olechowski. “That’s how so many recommendations are made and shared in the real world and there’s just no concrete platform for doing that today. Our belief is that it should be integrated into the experience,” he continued.”It should just feel part of the fabric of the ecosystem.”