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Sony says people who buy games technically don't own shit

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In a further fudging of the concept of online ownership, Sony Interactive Entertainment is disputing player ownership of its games, according to a legal filing it submitted to California’s Northern District Court on August 21. This follows a suit brought against Sony in June by four PlayStation Store customers who claim that the company doesn’t clarify the difference between buying a license to a game and owning it outright, as Olds once did when games came in lacquered polycarbonate plastic discs and cartridges that one could fling across the room in a pique of Game Over failure—or just sell them for money, if one was so inclined. 

As reported by former Kotaku editor-in-chief Stephen Totilo on his Game File Substack, Sony’s response to the suit asserts that Section 1 of its Homeric Software Product Licensing Agreement explains that “the Software is licensed [,] not sold.”

To justify this logic, Sony further asserts that one cannot “own” a digital copy of a game because, as it’s a digital file rather than physical media (which is currently being phased out by game companies like SIE), it cannot be possessed by any one individual. “In the digital age, it is not plausible to allege that reasonable consumers believed they were obtaining ‘ownership’ of a digital game,” Sony claims. “Were that the case, then [the plaintiff] would not have been able to obtain the game Resident Evil Requiem on February 25, 2026, for $69.99 from the PlayStation Store after [the other plaintiff] had obtained Resident Evil Requiem on February 14, 2026, because [they], not Sony, would have owned it then.” 

This digital-game reality is a quantum leap from the days when players could borrow their buddy’s Dark Souls disc after they’d chucked their own into traffic after getting their ass handed to them by Manus, Father of the Abyss, for the umpteenth time. Obviously, there were many physical copies of that game going around, as opposed to the only digital copy of Resident Evil Requiem that’s still somehow available to license on the PlayStation Store.

Indeed, Sony’s argument—that gamers don’t actually own shit when they hit “Buy Now” and “Complete Purchase” on the PlayStation Store, because those are words and words are wind—comes after the company recently emailed PlayStation account users to tap on their onerous Terms Of Service agreement. It reads, in part: “[In] addition to licenses of Virtual Content being subject to purchase and cancelation [sic] terms and conditions of the storefront/vendor, the availability of Virtual Content is not guaranteed, prices are subject to change, and order sizes may be limited without prior notice to you.” Here’s a fun part: “Purchases of Virtual Content licenses may be non-refundable.” 



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InShaneee
15 hours ago
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Chicago, IL
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Trump officials cut political interference ban after unusual Census Bureau report

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The Trump administration removed language banning political interference from the scientific integrity policy for the Commerce Department, the parent agency of the Census Bureau and the Bureau of Economic Analysis, which are headquartered in Suitland, Md.

After the Census Bureau issued a report tied to a Trump-aligned think tank, the bureau's parent agency cut language banning political interference from its scientific integrity policy, NPR learned.

(Image credit: Michael Zamora)

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InShaneee
1 day ago
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Chicago, IL
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Great Job, Internet!: "Weird Al" Yankovic finally uncovers the lost Al's Brain

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For those wondering how beloved entertainer “Weird Al” Yankovic can continue to exist as the shining beacon of integrity, good vibes, and enduringly catchy parody songs about food, ponder no longer. Yankovic announced today that he’s finally cut through the no-doubt tangled red tape surrounding the release of Al’s Brain, an 11-minute educational short film he made in 2009. 

Posting on Bluesky, the singer wrote, “‘Lost media’ no longer! I finally got permission to upload “AL’S BRAIN,” an 11-minute educational 3-D film attraction which ran at the Orange County and Western Washington fairs, and hasn’t been seen publicly since 2009.” And true to his frequently tested word, Al dropped the entire, delightfully silly, surprisingly star-studded film on his YouTube channel. 

 

In the video, Al, resplendent in a signature Hawaiian shirt, presides over a Mr. Wizard-style laboratory, where he fields questions about just what lives inside his (and everyone’s) head from from such luminaries as Fabio and Sir Paul McCartney, while Thomas Lennon, Patton Oswalt, and Tim & Eric pop up in various skits. And if the wise owl providing actual brain facts sounds familiar, that’s because he’s performed by Futurama‘s Billy West, while the boring human professor Al ditches in favor of the owl is character actor Bob Bancroft, best known to Parks & Recreation fans as Frank, one of the accountants who found Ben Wyatt so hilarious

Sadly, as Al explains, the original, no doubt mind-blowing 3-D aspect of Al’s Brain didn’t make the transition to boring old 2-D computer screens, the short is still a, well, hoot. (Al whacks a paddle ball into the screen for “a gratuitous 3-D shot” at one point, and dons a bald cap to portray Phineas Gage, the poor guy who famously got an iron rod rammed through his skull.) Naturally, the whole science lesson concludes with a delightfully catchy “Weird Al” song all about the workings of the brain. You’ll never take your funky, funky neurons for granted again.



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InShaneee
1 day ago
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R.I.P. Peter Cullen, Transformers' Optimus Prime

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Peter Cullen, the legendary voice actor known for his rumbling performance as Autobot leader Optimus Prime in The Transformers animated series and live-action franchise, died at his Los Angeles home on Wednesday, according to his manager.

The fatherly Montreal-born actor was known for his extensive vocal credits across television, film, and video games, becoming the face and rallying voice behind the Transformers franchise across its many incarnations, as well as an enduring presence as the gentle-and-drowsy Eeyore in various Winnie The Pooh series and films for Disney. The actor bridged the gap between pop culture fandom and STEM academia as the ambassador for the NASA OPTIMUS PRIME Spinoff Promotion and Research Challenge (OPSPARC), which awards young students who excel in math, science, technology, and space.

Space would be a recurring motif throughout his life. Cullen began his five-decade career in 1969 as Québécois astronaut Commander Bi Bi Latuque on The Buddies for CFCF (now CTV Montreal). That role led to a gig announcing The Smothers Brothers Comedy Hour, the variety show that also launched the careers of Steve Martin, Rob Reiner, and fellow voice actor Lorenzo Music (The Real GhostbustersGarfield And Friends). From there, Cullen appeared in The Sonny & Cher Comedy Hour alongside Buddies co-star Ted Zeigler beginning in 1971. “It ended up being a series and for four years I, you know, I could make the house payments and lived happily ever after,” he told NPR’s All Things Considered in 2014.

After the Sonny & Cher TV run ended in 1974, Cullen’s career consisted of supporting voice credits in animated series such as Scooby-Doo And Scrappy-Doo, The Smurfs, and Spider-Man And His Amazing Friends (where he voiced characters such as Mysterio, Red Skull, and the Hulk). His willingness to lend his voice to vivid cartoon characters led to an audition for a role that would define his career. “I was living with my brother Larry at the time,” he told NPR. “He had returned from service as a Marine in Vietnam. And I told him one day I was going out to audition for a truck. And he says, ‘a truck?’ And I said, ‘Yeah, but he’s a hero truck.'”

Beginning in 1984, Cullen became the leading voice behind The Transformers, the popular animated series based on the Hasbro toy line, voicing Optimus Prime until the hero’s untimely demise in 1986’s The Transformers: The Movie. That moment proved controversial, sparking public outcry that led to an almost immediate reversal in “The Return Of Optimus Prime,” a two-part epic in The Transformers‘ third season. After seemingly retiring the character, Cullen kept busy voicing Eeyore in various Disney Winnie The Pooh TV and film entries from the late 80s through 2002, reprising the role in 2017’s Disney Junior series, Doc McStuffins

Naturally, given the lasting mark he left on the franchise and the 80s nostalgia reaching a new apex in the mid-Aughts, Cullen’s time away from Transformers wouldn’t last. He was the only choice to voice the Autobot when Michael Bay launched a live-action version of the franchise in 2007 with Transformers, leading to his reprising the role in five sequels and the 2018 spin-off, Bumblebee

Cullen also became a cult favorite as the voice of Cartoon Network’s late-night animation block Toonami from 1999 to 2008, lending his gravitas to announcements and interstitials for upcoming episodes and series. His voice was a lulling comfort to night-owl animation enthusiasts, offering a warm-blanket boom to spots ranging from the adorable anime series Hamtaro (“Big things come in small packages!”) to making Batman & Mr. Freeze: SubZero feel like appointment television. 

Among his many animation credits, Cullen also left a mark on monster movies, delivering a guttural performance as the eponymous furry beast in the 1976 King Kong, starring Jeff Bridges and Jessica Lange, and providing the eerie alien clicking noises that put Arnold Schwarzenegger on edge in Predator.

Cullen’s family said in a statement that the Transformers actor “passed away peacefully, surrounded by his loving family—and held in the hearts of his many friends and countless fans worldwide.” The statement went on to ask “that you honor his remarkable legacy by serving your communities and leading others with compassion, integrity and loyalty and always remember ‘be strong enough to be gentle’.”

That phrase—”strong enough to be gentle,” taught to him at a critical stage in his career by his older brother—was Cullen’s governing philosophy throughout his life. Its origin is an anecdote Transformers fans know well, as Cullen was happy to share it at conventions and in interviews. From his 2014 interview with NPR: “[Larry] says, well, if you’re going to be a hero, be a real hero. Don’t be a Hollywood stereotypical thing, you know, the yelling and screaming. He said be strong enough to be gentle. And Larry was that way. I had no idea what the script was going to be. But [the] lines just came out, and I just did my brother Larry.”

Cullen shared this story again at a panel at TFcon in 2018, which you can watch below.



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InShaneee
5 days ago
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R.I.P. Tim Curry

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Tim Curry has died. A veteran stage, screen, and voice actor much beloved for his iconic baritone purr and finely-honed sense of sardonic glee, Curry lent his talents to everything from children’s fare like Home Alone 2 and The Worst Witch, to hallmarks of cinematic sexual subversion—as with his very first film role, The Rocky Horror Picture Show, in 1975. TMZ confirmed that Curry died last night in his home in Los Angeles; he was 80. 


Among the numerous images burnt into the public consciousness by 20th century film, few are as raucous, confident, or unrelenting as watching Curry’s Dr. Frank-N-Furter strut, prowl, and seduce his way through every other character in Rocky’s sci-fi-inspired menagerie of weirdos, inviting them to do the Time Warp (and other, lewder acts). Curry originated the role in its various stage productions, having previously met writer Richard O’Brien when they were both working on Hair. (The theater would remain one of the great loves of his long life; while Rocky’s Broadway debut was famously disastrous, Curry eventually took home three Tony nominations across his long career, for Amadeus, My Favorite Year, and Spamalot.) He brought that same high-camp energy to the screen for the cult movie adaptation of Rocky, vamping in garters and pearls, asking whatever happened to Fay Wray, and just generally giving the biggest performance imaginable and then some—a key hallmark of the Curry acting technique.

Among the greatest, most gleeful hams of his generation, Curry spent decades absolutely devouring scenery in major productions of all stripes, giving performances that would have been indelibly lessened in the hands of a man more burdened by concepts like “restraint.” It’s not that he wasn’t subtle or nuanced as a performer—anyone who’s watched his comic turns in films like Clue knows how well the man could sell a punchline with little more than the raise of an eyebrow and a slight inflection of tone—it’s just that he seemed to be having so much god-damned fun going over the top, whether exulting in oily satisfaction as the villain Hexxus in FernGully: The Last Rainforest, or threatening Tom Cruise from underneath mountains of prosthetics in Ridley Scott’s Legend. Pennywise, Long John Silver, even simply the smarmy hotel manager from Home Alone 2: These weren’t just movie villains. They were Tim Curry villains, and that told audiences of an entire generation that they were in good (if also extremely evil) hands.

Said identification/deification among younger audiences was helped along immeasurably by Curry’s long career as a voice actor; even ignoring starring roles like baffled dad Nigel on Nickelodeon’s The Wild Thornberry’s, his resume is jam-packed with vocal performances—often attached to names like Maelstrom, Dr. Calamitous, or Skullmaster. (The last one, from the mid-’90s Mighty Max cartoon, pitted him against the late Tony Jay, for a real showdown of deep-voiced British cartoon baddies.) The platonic Tim Curry voice role had much in common with his live-action acting: High-volume, high-energy, and with just enough of a wink to let you know that it was all in good fun. (Not that he didn’t make an occasional mis-step; his let’s-say-challenging performance as a Cajun mystery writer in the first of Sierra’s Gabriel Knight mystery games remains an affectionately goofy touch point for adventurer game players of a certain age.)

In contrast to his public performances—which also encompassed multiple studio albums, Broadway musicals, and more—Curry was a famously private figure; although he shed some of his shyness in later years, his thoughtfulness and quiet in interviews still came through, even when he gamely popped on a Dracula cape to chat about Rocky Horror with Sinbad.

Curry suffered a stroke in 2012, which severely curtailed his mobility, and functionally ended his live-action acting career. (He continued to voice act, including taking over the role of the Emperor for Cartoon Network’s Star Wars: Clone Wars.) He leaves behind a legacy of beloved characters, alongside a dark chuckle and winking gleam that echo through the last 50 years of the history of television, film, and more.



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InShaneee
6 days ago
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R.I.P. Dolly Parton

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Dolly Parton, an entertainer and philanthropist with a nearly seven-decade career, has died. Her team confirmed the news in a statement. “A rhinestone life that shone bright enough for the world to see, Dolly will forever stand as an inspiration not only through her timeless music and prolific songwriting, but also her wit, warmth, and kindness that made us all feel like family,” it reads. “Dolly Parton’s legacy is one of love, compassion, and resilience.” A cause of death was not shared, but Parton said last week that she was experiencing “hard times with [her] health.” She was 80 years old. 

Across music, film, television, and giving, Parton was an American icon. Parton got her start performing as a child before penning hits like “Jolene,” “I Will Always Love You,” “9 To 5,” and countless others. In the 1980s, she courted a new audience with roles in films like 9 To 5 and Steel Magnolias. As a personality, she was among the most recognizable figures in popular culture, serving as the face of the Dollywood theme park in Tennessee. Parton was also well-known and admired for her charitable giving, particularly her work with the Imagination Library, which provided free books to children every month up until their fifth birthdays. 

Born in a one-room cabin on the banks of the Little Pigeon River in Tennessee, Parton was one of 12 children. Her humble beginnings were frequently referenced in her music, and she was passionate about music from a young age. She recalled performing for “my brothers and sisters and chickens and the dogs with a tin can as a make-believe microphone” in a 2010 interview with Performing Songwriter. Of course, it wouldn’t take long before she began performing for bigger audiences. Her first singing job came on the Farm And Home Hour when she was ten years old. “It’s funny, I was on TV before we owned one,” she said. 

By the time she was 20, Parton had established herself as a successful Nashville songwriter. She released her first full-length album, Hello, I’m Dolly, in 1967, the same year she reached a wider audience with a regular recurring spot on The Porter Wagoner Show. For years, her biggest successes were the duets she released with Wagoner. However, she eventually decided to strike out on her own, telling People last year, “I couldn’t be Porter’s girl singer forever because God had a bigger purpose for me, and I had bigger dreams of my own.”

Her biggest solo hit at the time came in 1973 with “Jolene,” a song that has since been recorded by a number of artists and frequently considered among the greatest songs ever written. Years later, a story circulated that Parton wrote “Jolene” the same day she wrote another of the greatest songs of all time: “I Will Always Love You.” However, Parton clarified that she had merely written the two classics within a matter of days. Written originally about Parton’s professional break with Wagoner, Whitney Houston’s 1992 recording of the track went on to become one of the best-selling singles of all time; Parton later recalled having to pull her car over the first time she heard it because she was so overwhelmed with emotion. 

In the second half of the 1970s, Parton began to reach a broader audience. Her 1977 album Here You Come Again sold one million copies. She performed televised specials with Cher and Carol Burnett, earning an Emmy nomination for the former. In 1979, she won her first Grammy Award; she would eventually earn 11 out of 54 nominations. But her biggest crossover moment yet would come in 1980 when she made her film debut opposite Lily Tomlin and Jane Fonda in 9 To 5. Following the lives of three underappreciated female office workers who conspire to get revenge on their chauvinistic boss, the film has since become a comedy and feminist classic. Casting Parton was Fonda’s idea, who noted that the “humanity” in Parton’s music made her believe that she could act. The title track from the film became Parton’s first number one hit on the pop charts and won two Grammys. 

By the 1980s, Parton was a cemented cultural icon. The decade was her most prolific in terms of film acting; she went on to appear in The Best Little Whorehouse In Texas, Rhinestone, and Steel Magnolias in the remaining years of the decade. In 1986, she lent her name and energy to Dollywood, a theme park in Pigeon Forge, Tennessee that has since been rated among the best in the world. She also released eight albums in the remainder of the decade, and while her film career slowed in the following decade, her musical output did not. 

In the 1990s, Parton focused further on her charity work and business, becoming, usually lovingly, caricatured in popular culture, exposing a younger generation to her work. Indeed, younger millennials and older zoomers are fairly likely to have learned about her from an appearance on Reba or Hannah Montana as from “Jolene.” (Parton was Miley Cyrus’ godmother.) Or perhaps they know her from the Dolly Parton Imagination Library, which she founded in 1995 as part of the Dollywood Foundation to provide free books to children up to age five. By 2026, the library had sent books to an estimated 120 million children around the world, and sends about 3 million free books per month. In 2020, it was also revealed that Parton had donated $1 million to vaccine research that ultimately helped yield the Moderna COVID-19 vaccine. 

Even after her death, Parton has new work on the horizon. Later this year, Dolly: A True Original Musical will premiere on Broadway, bringing her life story to the stage. Last year, Parton released Star Of The Show, about her career performing on stage. “I’m at that point in my life where I just want to be able to do good things that can be carried on,” she said at the time. “I’m proud of my legacy so far, and I hope to just continue to do things that might be of use to other people.” There is no doubt that her work, both on stage and behind the scenes, will continue to help people for decades to come. Fans are encouraged to leave messages at dollyparton.com or make donations to the Imagination Library.

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InShaneee
7 days ago
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