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LG Monitors Silently Install Adware-Like App On Windows PCs

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VideoCardz reports that connecting certain LG monitors to Windows PCs can trigger Windows Update to automatically install the LG Monitor App Installer, which runs at startup and repeatedly displays McAfee trial promotions. From the report: Gamers Nexus reproduced the behavior with an LG UltraGear 34GX900A-B after receiving reports from monitor owners. Windows Update first installed LG extension and software component packages. Windows Reliability Monitor showed that LG Monitor App Installer appeared one minute later. The installation did not display a consent prompt or require the user to approve the download. Gamers Nexus tested the application across 32 consecutive system boots. It displayed a McAfee promotion during 31 of them. On the remaining boot, it promoted one of LG's own monitor utilities. The McAfee popup offered a 30-day trial that would convert into a paid subscription. The behavior does not appear to be limited to newly purchased displays. Gamers Nexus also received the popup on an LG UltraFine 32UN880-B purchased three years earlier. User complaints about LG Monitor App Installer date back to at least 2024, although the recent increase in reports suggests that more models may now be receiving it.

Read more of this story at Slashdot.

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InShaneee
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New Orleans Cops Published Policy Document Allowing Weaponized Drones

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New Orleans Cops Published Policy Document Allowing Weaponized Drones

The New Orleans Police Department (NOPD) looked at ways to arm quadcopter drones with weapons, according to a draft version of its drone manual shared with 404 Media. A draft version of the manual, which was live on the NOPD website in June, said that the department’s drones could only be equipped with weapons with written approval from the Superintendent of Police.

The current version, live as of July 1, has different language: “The sUAS shall not be equipped with weapons or hazardous materials of any kind,” referring to small Unmanned Aerial Systems, or drones. According to the NOPD, the operations manual it published to the internet with the rules for weaponized drones was an early draft.

“The manual published on July 1 is the current published version of the policy. Earlier versions were draft versions that were presented for review before adoption of the current policy,” NOPD told 404 media. “NOPD has made it clear we are not and will not be equipping drones with weapons or other hazardous materials.” NOPD didn’t answer follow-up questions about how or why the draft version of the manual was published.

But the publication of a police drone manual that opens the door for weaponized quadcopters is important, and comes as drone companies and police flirt with the idea of putting weapons on their drones. New Orleans has long been a pioneer of camera and drone driven policing and the cops have used controversial tactics to get around public scrutiny and regulations. It shows that what the police are circulating amongst themselves and thinking about privately, what they perhaps want to happen, does not match public policy.

NOPD has a history of finding creative ways to work around public policy and scrutiny when it comes to surveillance tech. A private company called Project New Orleans operates a network of cameras that provide live facial recognition to the city’s cops. The company operated in secret cooperation with NOPD for two years before the Washington Post exposed it in 2025. According to the ACLU, NOPD has continued to use Project New Orleans in contravention of local laws and has stonewalled public records requests.

Federal Aviation Authority regulations prohibit the operation of drones equipped with a “dangerous weapon.” Matthew Guariglia, a senior policy analyst at the Electronic Frontier Foundation, told 404 Media that he didn’t see how the police arming drones could possibly be legal. But the FAA regulation was written in 2018 and things have changed a lot in just the last few years. Last month, Guariglia argued that “we have precious little time” to stop police from arming their drones, and that the industry was moving that way.

One of the companies selling NOPD its drones is Skydio. The US-based manufacturer of quadcopter drones has done very well since the Trump administration banned the sale of foreign-made drones last year. Skydio has always marketed itself as a drone company for first responders and had a cozy relationship with police departments around the country.

In 2020, Skydio wrote “we will not put weapons on our drones and will oppose fully autonomous lethal weapons systems.” 

But Skydio CEO Adam Bry walked this back in a June 15 interview on Decoder. “So this is an area where I think I’ve gotten some things wrong. We’ve said some things previously that led some folks externally and internally to believe that, for example, we would prevent the military from putting weapons on our drones,” Bry said.

“It’s not our place to tell them what they can and can’t do,” he said. “It should be up to the folks who’re putting their lives on the line to decide how to use it.”

He added that terrorists don’t follow terms of service. “They don’t care what our policy says,” he said. “I think when you start trying to draw these bright lines and say: this is good, this is bad, more often than not you’re going to end up on the wrong side of moral questions.” 

Guariglia also pointed to a planned pilot project in Georgia that will test “less lethal” armed drones to nominally stop school shootings. He noted that in recent years many drone regulations have been ignored or relaxed.

“You used to have to have line of sight of your drones and now law enforcement [...] are phasing that out or offering exemptions,” Guariglia said. “If you want to police divisions a few years ago, they were selling drones capable of flying miles and miles in a couple of minutes and you’d ask them about the line of sight rule and they would just shrug. They are preparing for the day when law enforcement gets whatever they want.”

“Clearly they’re thinking about it,” Guariglia said of the NOPD manual that included a provision for armed drones. “Drones have always been a bit of a solution in need of a problem. There are few things that police say they need drones for that they cannot get by other means, and I think by putting other tools on them, they are still on a quest to figure out what drones are really good for.”

Arming drones could lower the bar for police to use force. “We have seen how consequence-free it can be for officers to deploy force at somebody who’s standing in front of them when they have to confront the fact that it’s a fellow human and they still have to draw their night stick or their Taser or their gun,” Guariglia said. “That would become so much easier and so much less emotionally and physically burdensome if they can deploy force by pressing a button.”

All this tech costs a lot of money. “Cities are spending an astronomical amount on drones and for maintenance of the drones. They're hiring all these drone pilots. They have to have special infrastructure to fly all these drones, and companies are getting rich. But really, there is no problem in policing that drones have straight up solved yet,” Guariglia said.

On June 24, the New Orleans city council approved a $250,000 budget request to expand Skydio’s reach in the French Quarter. The funds will purchase a massive docking station and support a “drones as first responders” (DFR) program, meaning that people who call 911 in the French Quarter may see a quadcopter drone before they see a police officer. NOPD told the city council that these drones won’t run facial recognition software and will not be armed.

The existence of the draft that was “presented for review” stands out. On February 7, 2024, NOPD first published an operations manual for drones. It was unequivocal: “The sUAS shall not be equipped with weapons of any kind.” 

Two years later, in 2026, NOPD asked for money for more Skydio drones and the city council questioned the cops about the program in a public meeting on April 16.

“Are these drones or any current drones in the French Quarter armed with any type of weapons?” Councilman Freddie King asked.

“No,” NOPD captain Samuel Palumbo said.

On June 24, 2026, the city council voted 4 - 3 to fund the expansion of the DFR program in the French Quarter.

Around that time, a revised version of the NOPD drone manual that allowed for the use of weaponized drones with the Superintendent’s written permission was live on the NOPD website. The revised version of the manual is dated June 21, 2026. The new manual caught the attention of Eye on Surveillance, a Louisiania activist group. The group said it started calling city council members to alert them to the new language.

Then, on June 30, the operations manual with the weaponization language vanished and a third version of the manual appeared. “The sUAS shall not be equipped with weapons or hazardous materials of any kind,” a revised version of the drone manual dated July 1, 2026 said.

It’s an odd sequence of events from a police department that hasn’t been forthcoming about its use of surveillance tech. “Police have yet to demonstrate that they can responsibly handle the data collection and surveillance capabilities of drones. Choosing to arm already unaccountable sky cameras is a threat on top of a threat, a misuse of public resources, and risks introducing more unaccountable weapons into a city enjoying a decline in gun violence,” Kelsey Atherton, Chief Editor at Center for International Policy — a non-profit that studies emerging technologies — told 404 Media.

Skydio did not return 404 Media’s request for a comment.

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InShaneee
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The Marvel Cinematic Universe's heroes assemble again in Avengers: Doomsday trailer

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If you’ve ever wanted to see Mystique transform into Yelena Belova, or watch Shang-Chi fight with Gambit, or see The Thing shake hands with M’Baku, then, well, the Avengers: Doomsday trailer will leave an impression. After its debut at CinemaCon earlier this year, the first footage from the upcoming film has finally been released to the public, and yes, it features a hodgepodge of superheroes assembling to battle the next Big Bad: Robert Downey Jr.’s Doctor Doom. 

The trailer promises a lot of fun pairings, something that the Marvel Cinematic Universe has pulled off before in previous Avengers movies. Doomsday acts as a culmination of the past seven years post-Endgame, bringing together protagonists from The Fantastic Four, Thunderbolts, Shang-Chi, and even Deadpool & Wolverine‘s Gambit (Channing Tatum). 

There’s also a weighty reunion between Thor (Chris Hemsworth) and Steve Rogers, a.k.a. Captain America (Chris Evans)—although curious fans still want to know when the latter will meet up with his BFF, Bucky Barnes, a.k.a. the Winter Soldier (Sebastian Stan). Among other returning faces are Ant-Man (Paul Rudd) and his daughter, Cassie (Kathryn Newton), Black Panther‘s Shuri (Letitia Wright) and M’Baku (Winston Duke), and Loki (Tom Hiddleston). 

Crucially, Doomsday also brings the characters from the 2000s X-Men movies into the fold. It means mutants like Charles Xavier (Patrick Stewart) and Beast (Kelsey Grammar)—who’ve already appeared in former MCU films—as well as Magneto (Ian McKellen), Cyclops (James Marsden), Nightcrawler (Alan Cumming), and Mystique (Rebecca Romijn) team up with the rest. Of course, this entire crew is battling Victor von Doom (RDJ), who threatens to wreak havoc across the multiverse.

Avengers: Doomsday is co-written by Michael Waldron and Stephen McFeely. Joe and Anthony Russo return to direct after Endgame. Doomsday releases on December 18. A sequel, titled Secret Wars, is set to arrive in 2027.

Watch the full trailer below: 



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InShaneee
9 hours ago
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Keep Netflix away from the World Cup

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The camera just won’t stop hopping around. Kyle Schwarber is absolutely knocking the cover off of the ball in the first round of the 2026 Major League Baseball Home Run Derby, and the Netflix production team appears determined to show his swings from every conceivable angle. From behind the pitcher’s screen, where ESPN tended to set up shop when it aired the tater-mashing prelude to the MLB All-Star Game. In a medium shot that cuts Schwarber off just below the waist and all but obscures the view of the ball as it approaches the plate or leaves his bat. From a ground-level angle that paints the Philadelphia Phillies slugger in a classically heroic light, looming over the lower-deck seats of his home ballpark. There’s a particular fondness for the last of those shots in Netflix’s inaugural broadcast of the Home Run Derby, and there’s an annoying tendency of lingering on the batters rather than cutting away to another camera that can show, you know, where the ball went. After one too many of these disappearing acts, a disturbing thought occurs to me: Netflix is going to screw up the World Cup.

The 2026 FIFA World Cup has been the undisputed event of the summer, and provided you’re making the correct choice of U.S. broadcasters, some of June and July’s best television, too. A Peacock subscription and/or digital antenna has been the gateway to Telemundo’s refreshingly unfussy presentation of the tournament: A comprehensive and legible view of the field, no commercials during the hydration breaks (the choice that launched a thousand “pausa de hidratacion” memes), and the strong likelihood of play-by-play announcer Andrés Cantor erupting in a “¡Goooooool!” at some crucial moment. In every respect, it’s a superior product to Fox Sports’ coverage of the same matches. This is the third time Fox has carried the World Cup in the United States, but its broadcasts still carry the desperate stink of a network trying to sell English-speaking Americans on a sport they long ago embraced. If a critical mass of soccer skeptics remains in this country, you’re sure as hell not going to win them over with a nightly aftershow hosted by James Corden.

But our national nightmare of Corden recapping highlights over some of the least-appetizing beers ever photographed may be short-lived. The U.S. TV rights for the next two World Cups are currently up for grabs, and while FIFA, as is its endlessly bribable wont, re-upped with Fox and Telemundo without taking bids from anyone else in 2015, such an outcome seems unlikely this time around. CNBC reports that soccer’s international governing body wants to assemble a bundle (how au courant) for the 2030 and 2034 tournaments—English- and Spanish-language rights in a single deal. That’s the type of arrangement they cut for the next two women’s World Cups, the first of which is set to play out next year on, sigh, Netflix. A quick glance at your queue in the past month would reveal how serious Netflix is about associating itself with association football: In June, it launched a whole slate of World Cup-adjacent content, including a movie that casts Diego Luna as the (fictionalized) guy who brought the 1986 cup to Mexico, two projects about two different Brazilian teams that won it all (one scripted, one a doc), and an unscripted series about this year’s Norwegian side that presaged the arrival of Erling Halland Mania in America. 

Look, we give The Big Red N a lot of shit here at The A.V. Club: For its price hikes, for the declining quality of its original programming, for its apparent desire to devolve into YouTube (one of the other parties reportedly courting FIFA at the moment). But these are minor quibbles compared to all of the missteps Netflix has made in its expansion into live sports. It began in 2024, with a glitchy night of ringside rubbernecking courtesy of Jake Paul’s boxing match with a nearly 60-year-old Mike Tyson. It continued through MLB’s 2026 Opening Night, a cavalcade of plugs for the Netflix lineup during which the New York Yankees and San Francisco Giants also played a baseball game. The sideshow quality of its combat sports offerings, the mind-boggling production choices made in its first two baseball outings—none of this inspires much confidence in Netflix’s ability to handle the breadth and length of a World Cup.

There are a lot of moving parts to a live sports broadcast—that’s why the more seasoned players in the field love to fill downtime with shoutouts to all the camera operators in the stands, or the folks doing traffic control in the production truck. Netflix is attempting to spin up the kind of behind-the-scenes infrastructure that its competitors have built across decades, and its inability to, say, capture a history-making baseball moment as it happened—as it did when the Yankees’ José Caballero brought MLB into the Automated Ball-Strike era on Opening Night—demonstrates how much work it still needs to do to catch up. It’s little wonder that Netflix’s most successful sports efforts so far have been their Christmas Day NFL doubleheaders, co-produced in partnership with the old hands at CBS Sports.

There were marked improvements between Opening Night and the Home Run Derby—the Netflix synergy was blessedly restricted to the barely audible player introductions handled by the cast of The Hawk—but weak links in the production chain kept hanging the on-air talent out to dry. Be it a teleprompter, the copy on said prompter, or the awkwardness of doing patter from an ad hoc “lounge” put together in foul territory, the otherwise polished hosts kept tripping over their words: Barry Bonds saying “rendendum” when the captions indicate he was being fed “repetition”; the laws of arithmetic defied as Elle Duncan recounted her colleague Albert Pujols’ 2005-07 hot streak at Philadelphia’s Citizens Bank Park—“You came to this ballpark eight times, and you deposited a ball out into the stands nine of them.” (An onscreen stat corrected the record: Pujols hit nine home runs in eight away games against the Phillies during that stretch.) The zeal for upward-glancing shots created an ironic juxtaposition during the pregame, with the camera capturing the giant scoreboard message “ATTENTION ALL MEDIA CLEAR THE FIELD” behind the members of the media who had yet to clear the field.

Elle Duncan, Barry Bonds, Albert Pujols, and Anthony Rizzo sit on couches set up on a baseball field. Behind them, a scoreboard message reads

Screenshot: Netflix

Multiply that undertaking by multiple games per day, spread across several weeks, and any mention of the 2027 Women’s World Cup during the Home Run Derby sounded less like enticement and more like a threat. Next year’s tournament will be a dry run for the streaming giant’s facility with such an event; the question of whether people will put up with a paywall standing between them and a highly anticipated competition between some of the greatest athletes on the planet, meanwhile, may have already been answered by this past spring’s World Baseball Classic. In Japan, which hosted the 2026 WBC, Netflix was the only way to watch the games. The Japan Times described “fans gathered at restaurants and bars to share their Netflix feeds and watch together on smartphones and tablets”—the “personal, noncommercial use” language in the streamer’s terms of service keeping sports bars from putting the WBC up on their big screens. A month later, the Japanese government entered a plea to the tournament’s organizers at MLB. “It is extremely important for a wide range of people to have the opportunity to experience and watch sports,” education and sports minister Yohei Matsumoto said in a press conference, acknowledging that the country’s major television networks have traditionally made the WBC, the Olympics, and the World Cup available to watch free of charge.

Such a request has a lot of resonance here in July 2026. Between the various cultural phenomena of the World Cup—the delight of international fans encountering American fast food and convenience stores for the first time, the rise of Cape Verde, Haaland and his stuffed raccoon—and the end of the New York Knicks’ NBA championship drought, it’s been a uniquely joyous summer for sports in the United States. And a lot of that joy has been expressed and shared in public, without the barrier of a streaming subscription: The crowds congregating at soccer bars that more typically cater to early-rising Premier League fiends; game five of the NBA Finals streaming on public wi-fi kiosks amid back-and-forth between Mayor Zohran Mamdani and Knicks owner James Dolan over outdoor watch parties. Put aside concerns about lackluster, technical difficulty-prone broadcasts for a second—the loss of this kind of communal experience is the greatest risk of a Netflix World Cup. I’ve been watching the tournament since the first time the U.S. hosted it in 1994, and I can’t remember any edition that captured the world’s attention and imagination like this year’s. It’s the ultimate reminder that sports belong to everybody, not just the people who can afford to pay $8.99 a month to put a movie or show on in the background while they scroll through their phone.

Tomorrow, I’ll be having friends over to watch the final between Argentina and Spain. We could pull up the game on Peacock, but I’d rather pull it out of the air with my antenna. The opportunities to perform such a magic trick grow fewer and farther between these days. And provided the signal from Chicago-area Telemundo affiliate WSNS is coming in just fine, I can count on actually seeing the game, too, with no gimmicky camera angles, CGI-dandruff-dusted graphics packages, or sales pitches for Stranger Things spin-offs obscuring the view.  



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Netflix sprinkled generative AI into 300 projects

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Yesterday was Netflix’s second quarter earnings call, and there was a decent amount of hubbub across industry press sources about how sweaty the streamer seemed. Stock prices fell, second seasons were dwindling, and Netflix was rolling out cutting edge ideas like putting YouTube videos that already exist for free on a paid platform. Despite being, objectively, a very successful company, it seemed like Netflix might be hitting some kind of ceiling for its current strategy. If only there was some magic word that investors love, a word that suggests unlimited, totally unrealistic infinite growth. 

If there is such a term right now, it would be AI, the technology we’re constantly told is here whether we like it or not, our needs to water be damned. According to IndieWire, Netflix co-CEO Ted Sarandos told investors on the Q2 earnings call yesterday that the company had used generative AI in 300 titles, ranging from pre-production, to VFX, to set references, to post-production. Netflix hasn’t really been afraid of using generative AI, but 300 still seems like a lot of projects given that Sarandos was confirming the company’s first use of it this time last year

One show, The American Experiment, included 17 minutes of footage that were adjusted with AI, which Sarandos claims “enabled us to expand the scope of the series in ways that wouldn’t have been feasible before.” (The American Revolution remains a space for testing the capabilities of AI, apparently.) “Those 17 minutes, they were produced twice as fast and at half the cost of previous options,” says Sarandos, emphasizing how much bang investors are getting for their bucks.  “Keep in mind that in many of the cases, productions would’ve left out those key shots because they wouldn’t have been able to afford them, they wouldn’t have been able to do them in the time frames that they’re working on,” he said. “So those sequences are saved by the availability and access to the Gen-AI tools.”

Sarandos also offered some of the by-now well-worn talking points about how AI is just a tool that artists can use “to make [their movies] even better.” But of course, this was an earnings call, so saving money is the main thrust here. Said Sarandos, “Content creation timelines can be shortened, and quality can be enhanced, so the cost savings will likely be re-invested into more content on the service, which fuels high quality engagement, and that whole revenue-profit flywheel is going to come from that that we’ve been talking about from Day 1.” Of course, the revenue-profit flywheel that we’re always hearing about. 



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InShaneee
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God Of War TV series is recasting Kratos

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A still photo from the live-action God of War TV show.
Hurst (seen left as Kratos) had reportedly already completed four episodes of filming for the series. | Image: Amazon

Amazon's upcoming God Of War show has hit a major snag - it's now on the hunt for a new Kratos, after an on-set injury put its current lead actor out of commission. Sons of Anarchy star Ryan Hurst was originally cast for the role in January, with Deadline reporting that four episodes of the God Of War production had been fully completed before he tore a bicep performing a stunt.

Production on the show has now been paused, and is eyeing to resume in mid-October. Unfortunately that isn't enough time for Hurst to fully recover from surgery. The completed episodes will now be reshot with a new actor, causing further delays to the show following …

Read the full story at The Verge.

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