Horror movies have always reflected and explored the political climate of the eras that produced them. In the 1950s, Cold War paranoia led to a spate of films such as Invasion of the Body Snatchers about aliens hiding among us, looking to destroy humanity from within. Later the chaos and bloodshed of the Vietnam war inspired a cycle of cynical, anarchic and bloody movies such as Tobe Hooper's Texas Chainsaw Massacre and Wes Craven's Last House On the Left, in which the rules of civilised society collapse amid senseless, numbing violence. Horror cinema, with its in-built tropes of shock and tension, has always provided a convenient way for culture to process real-life fears. This is why Resident Evil 7, released this week to much critical acclaim, is an interesting benchmark for where horror video games are right now, and what they say about the world around us.

A longstanding network of bogus "think tanks" raise disinformation to a pseudoscience, and their studies' pull quotes and flashy stats become the "evidence" driving viral, fact-free stories. Not to mention President Trump's tweets. These organizations have always existed: they're old-school propagandists with new-school, tech-savvy reach. They've been ginning up so-called research for everyone from shady corporations to anti-LGBTQ groups to white supremacists for decades--they're practiced, and their faux-academic veneer is thick and glossy. Which makes them harder to brush off than your garden-variety liar.

But first up are the things you may have missed, like a massive update for Google Voice, the name of the new Star Wars movie and why cassette sales are way, way up. Fitbit's recent acquisitions hint at a device we'd actually want to buy. It hasn't been a great year for wearables, with sluggish sales and underwhelming products dominating the space. Several smartwatches have disappeared over the last twelve months, and for Dan Cooper, devices from Apple, Samsung and Google that try to recreate the smartphone experience on the wrist just aren't compelling. However, those companies are increasingly the only games in town after the demise of low-power wearable companies like Pebble, Vector and Basis.

It seems pretty clear that 2017 is going to be the year that Amazon's Alexa virtual assistant really begins to hit its stride, going from a fast-growing niche product to a mainstream must-have. While Microsoft and especially Google have made their competitive strategies clear -- even Samsung and Baidu have started to make rumbles in the market -- there's one elephant that, notably, isn't in the room yet: Apple, the most valuable company in the world and a notorious latecomer to any new product category. While Apple recently built Siri into the Apple TV, the company is said to be working on a direct competitor to the Amazon Echo -- one that would apparently be more advanced than anything we've seen, down to a possible facial-recognition camera so it knows who's talking. That device, if and when it comes out, would bring Apple's 5-year-old Siri assistant head-to-head with Alexa. And the clock is ticking.

Artificial intelligence is likely going to change our world like no other technology ever has. AI might steal our jobs. But what we know for sure is that 2017 is the year artificial intelligence is hitting the mainstream. Smart assistants like Alexa, Cortana, Siri, and Google Assistant live on our phones and in our homes. AI is influencing what we find in Google search results and what we see in the Facebook news feed.

Most of the previous approaches to lyrics-to-audio alignment used a pre-developed automatic speech recognition (ASR) system that innately suffered from several difficulties to adapt the speech model to individual singers. A significant aspect missing in previous works is the self-learnability of repetitive vowel patterns in the singing voice, where the vowel part used is more consistent than the consonant part. Based on this, our system first learns a discriminative subspace of vowel sequences, based on weighted symmetric non-negative matrix factorization (WS-NMF), by taking the self-similarity of a standard acoustic feature as an input. Then, we make use of canonical time warping (CTW), derived from a recent computer vision technique, to find an optimal spatiotemporal transformation between the text and the acoustic sequences. Experiments with Korean and English data sets showed that deploying this method after a pre-developed, unsupervised, singing source separation achieved more promising results than other state-of-the-art unsupervised approaches and an existing ASR-based system.

Patrick Stobbs recently sat in a conference room here playing songs from his smartphone, attempting to show how his start-up, Jukedeck, is at the cutting edge of music. The tune sounded like the soundtrack to a 1980s video game. "This is where we were two years ago," he said, looking slightly embarrassed. "And this is where we are now," he continued. He then played a gentle piano piece.

We all know AI, the super villain from Hollywood movies which intends to finish the human race. The Artificial Intelligence, the one watching us all the time, knows our every step, even correctly predicts our future steps. Even outside of the science fiction arena, in our real world Artificial Intelligence is feared to be the job killer. So, how does a company sell this fictional super villain, a real life job killer? How do you sell products based on AI, when people are so scared of them?

Daniel Kwan and Daniel Scheinert, young directors who go by the joint film credit Daniels, are known for reality-warped miniatures--short films, music videos, commercials--that are eerie yet playful in mood. In their work, people jump into other people's bodies, Teddy bears dance to hard-core dubstep, rednecks shoot clothes from rifles onto fleeing nudists. Last year, their first feature-length project, "Swiss Army Man"--starring Daniel Radcliffe, who plays a flatulent talking corpse that befriends a castaway--premièred at Sundance, and left some viewers wondering if it was the strangest thing ever to be screened at the festival. The Times, deciding that the film was impossible to categorize, called it "weird and wonderful, disgusting and demented." Perhaps it is no surprise, then, that when the Daniels were notified by their production company, several years ago, that an Israeli indie pop star living in New York wanted to hire them to experiment with technology that could alter fundamental assumptions of moviemaking, they took the call. The musician was Yoni Bloch, arguably the first Internet sensation on Israel's music scene--a wispy, bespectacled songwriter from the Negev whose wry, angst-laden music went viral in the early aughts, leading to sold-out venues and a record deal. After breaking up with his girlfriend, in 2007, Bloch had hoped to win her back by thinking big. He made a melancholy concept album about their relationship, along with a companion film in the mode of "The Wall"--only to fall in love with the actress who played his ex. He had also thought up a more ambitious idea: an interactive song that listeners could shape as it played. But by the time he got around to writing it his hurt feelings had given way to more indeterminate sentiments, and the idea grew to become an interactive music video. The result, "I Can't Be Sad Anymore," which he and his band released online in 2010, opens with Bloch at a party in a Tel Aviv apartment. Standing on a balcony, he puts on headphones, then wanders among his friends, singing about his readiness to escape melancholy. He passes the headphones to others; whoever wears them sings, too. Viewers decide, by clicking on onscreen prompts, how the headphones are passed--altering, in real time, the song's vocals, orchestration, and emotional tone, while also following different micro-dramas. If you choose the drunk, the camera follows her as she races into the bathroom, to Bloch's words "I want to drink less / but be more drunk." Choose her friend instead, and the video leads to sports fans downing shots, with the lyrics "I want to work less / but for a greater cause."

The physical entertainment market for music, videos and gaming suffered a brutal hit over the crucial Christmas period, dealing a sharp blow to retailers like GAME, according to data out Monday. Figures on the physical entertainment market from Kantar Worldpanel show that the sales of music, video and gaming in the three months to 18 December slipped 7.8 per cent. Music and video sales both witnessed double digit declines, with sales falling by 11 per cent and 12 per cent respectively, while gaming was down by 2.7 per cent. "The increasing popularity of digital entertainment products is making it ever more difficult for retailers to maintain the relevance and excitement of giving physical entertainment products as gifts, and it's not been an easy Christmas as a result," said Fiona Keenan, a director at Kantar. She said that over one million fewer shoppers purchased physical music or video as gifts in the quarter, equating to around £31 million lost.