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Spider-Man: No Way Home brought people back to theatres in droves, and it seemed like the days of streaming-first releases were over – especially for the entertainment giant Disney.
But, alas, this isn’t the case for one specific part of the Disney empire. The next Pixar film, Turning Red, has been confirmed to get a Disney+ streaming release on 11 March 2023, with no plans for the film to hit cinemas at all.
It’s in part understandable considering the worldwide surge in cases of the Omicron variant. However, Disney has not even offered a dual cinema and streaming release as it did for Black Widow. Instead, the film will only be available on the streaming service. The timing feels even less like a factor when you consider that Turning Red isn’t the first Pixar film to skip cinemas – the studio’s last two features, Soul and Luca, suffered the same fate.
The decision came as a shock to many Pixar employees, according to Insider. An anonymous staffer stated, “We all thought ‘Turning Red’ would be our return to the big screen, and everyone at the studio was so excited about it being this film in particular. It was quite a blow.”
It’s even more striking when you consider that Disney gave theatrical releases to Encanto and Raya and the Last Dragon – both of which were created by Walt Disney Animation Studios, another internal studio that’s separate to Pixar. It begs the question: why is Disney treating Pixar movies differently to its other animated output?
2024 was a successful year for Disney+. The platform hosted nearly back-to-back Marvel shows consistently, brought back a second season of The Mandalorian, and offered movies that weren’t otherwise accessible for people who couldn’t make it out to the cinemas.
But 2023 may be more of an uphill battle for Disney+. The next Marvel series won’t kick off until March, and with a lukewarm reception to The Book of Boba Fett and rising prices for other platforms looming on the horizon, Disney is no doubt searching for ways to incentivise subscribers to stay.
In a quote to
The same article also points out that it’s significantly more expensive for Disney to push a film into theatres than to put it on the streaming service, with the average film from the studio costing around $100 million to promote.
With marketing costs so high, it’s vital that theatrical releases make their money back. But, as the Washington Post points out, families with younger children are less likely to head to the cinema during the pandemic than adults.
Encanto only managed to bag $200 million worldwide in theatres, and then went to Disney+ after just a month. To give some perspective, previous films from Walt Disney Animation Studios such as Moana and Coco managed between $500 million and $800 million before the pandemic.
Forbes notes that by sending these films to Disney+ early and making them available ‘for free’ (rather than on Premier Access), the average watch time for these films shot up, which could help drive and retain more subscriptions. That extra engagement on the streaming service may be worth more to Disney than the relatively meagre box office returns its animated features are currently picking up.
In that case, this may not just be a Pixar problem – the next Walt Disney Animation Studios film, Strange World, may not make it to cinemas either, especially if Turning Red succeeds on Disney+.
The icing on the cake is that Nielsen reports that Luca was the most streamed film in the US last year – though it is worth noting that this survey didn’t include titles from HBO Max. Regardless, the film still managed to beat out tough competition, proving that there’s plenty of appetite for Pixar on streaming.
Soul received a similarly positive reception, with a source telling Insider, “Disney was over the moon about the numbers,” upon the initial release of the film on Disney+. That release was largely out of necessity at the time due to many countries being in complete lockdown, and cinemas therefore closed.
In addition – except for the occasional sequels – they don’t require prior knowledge of other films to be enjoyed. This is something that can’t be said for new releases in the MCU and Star Wars, two of Disney+’s other key properties.
With classics such as Toy Story, Monsters Inc., and Up, it is no wonder that Pixar continues to be a draw for the streaming service.
Streaming releases for films have become more of a rarity in 2023. With HBO Max now giving up its new movie releases, Disney is one of the few services that is still offering the option to watch brand new films from the comfort of home, and that is something that may entice viewers to stay subscribed.
So, what does this mean for the future of Pixar on Disney+? It depends on three things: the reception of Turning Red, the trend of subscribers on the platform, and the state of cinemas during COVID.
The next Pixar film on the books is Lightyear, a spin-off of the widely popular Toy Story franchise. Currently, this is slated to release on 17 June 2023, but the release strategy hasn’t yet been revealed.
With Chris Evans in the leading role and an action-heavy plot, this Pixar film would lend itself to a cinema run. However, if Disney+ finds further streaming success with Turning Red, the argument for not making this movie exclusive to the platform will be a hard sell.What I’m watching this week
Queer Eye is back for a sixth season, and if you’re in need of heart-warming telly and a good cry, then the fab five have got you covered. Karamo, Tan, Bobby, Antoni and Jonathan are heading out to Austin, Texas, to transform some more people’s lives.
Interestingly, this season got caught up in the whirlwind of the pandemic – but the show did manage to continue, even with one of the guests caught right in the middle.
You can watch Queer Eye season six over on Netflix – subscriptions start from £5.99/$9.99 per month.
You can also read up on why the latest Disney+ series, Pam & Tommy, highlights an ongoing problem with real-life adaptations.
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Since the beginning of the year, NFTs have been soaring in terms of both price and popularity. People from the space have been diverting a significant amount of capital into quirky digital images that encapsulate punks, apes, rocks, and even plain text.
Looking at how things have panned out, it doesn’t seem like the mania is going to fade anytime soon either.
Bored Ape Yacht Club [BAYC] is one such project that has taken the industry to new heights with its consistently high trading volumes. Ranked 5th based on the same parameter on OpenSea, the floor price of this collection had a value of 38 ETH, at press time.
Notably, the project has recorded figures of over $542 million in lifetime sales. What’s more, as per Dune Analytics’ data, over 12,121 unique wallets have held an ape at least once.
Capitalizing on enthusiastic participation, the project recently announced that it intends to launch its own token by the first quarter of next year.
Their official announcement thread on Twitter noted,
“It’s stupid easy to launch an ERC-20 token; it takes minutes. It’s much more complicated to construct a legally compliant token and set it up in a responsible, sustainable way.”
They are, however, also working with a tech-focused legal team called Fenwick West and blockchain-based tech firm Horizen Labs to cater to the complexities in a swift way.
With the token launch, BAYC would become one of the first large-scale NFT projects to airdrop tokens to HODLers.NFTs and native ERC-20 tokens – What’s the deal exactly?
Simply put, ERC-20 is a standard that’s used to create and issue smart contracts on the Ethereum blockchain. This standard has gradually become a go-to path for projects to create new tokens. Thousands of distinct tokens have already been issued this way and are operating in accordance with the standard.
To break things further down, ERC-20 smart contracts are primarily used to execute various routines and functions in the digital space. They are increasingly being used by platforms from the NFT space of late. Even though it isn’t a must for projects to have their own tokens, they’re usually opted for because of the governance and utility benefits they bring.
In effect, these tokens usually tend to tread their own paths, instead of following Ethereum or the broader market. In fact, the 2023 ICO-fueled bull market was single-handedly dominated by these tokens.
AGLD’s recent price performance has additionally highlighted the not-very-high correlation shared by such tokens with large-cap altcoins.Worth the hype?
As pointed out by a previous article, the AGLD token was recently airdropped to Loot Project NFT HODLers. Notably, a Loot member from the community built the token and other members had to figure out its actual use cases after the launch.
Now, even though the idea of developing a BAYC token is in its infant stage, it should be noted that the team has already started building the ecosystem before the launch, unlike Loot. In effect, the whole process seems to be even more streamlined for now.
Given the popularity of BAYC and what it has offered, NFT geeks now need to keep an eye out for the latest developments with respect to the launch.
Before we begin, understand that this article also addresses operating systems (OS), specifically Windows, but the principles could apply to any software, app, or OS.
When you hear or get notification that your software is nearing End of Life (EOL), it’s a bit disconcerting. It sounds so final, as though your software is just going to stop working on a certain date at a certain time. Rest easy, as this is not the case. The term is just very dramatic. We’ll go into what it really means later in the article.
Table of Contents
First, let’s look at something called a product life cycle.What is The Product Life Cycle?
Any product that you can buy has a life cycle, and therefore a finite life. It consists of four stages: development, growth, maturity, and decline.
Development – This is exactly what it sounds like. It’s the period in which the software is developed and initially marketed and adopted or sold. In this stage, the software might still have some small issues or be lacking in features.
Growth – As awareness of the software grows and the software becomes more stable, it enters a growth phase. Sales or distribution of the software begins to accelerate. Because software is something that can be changed while in use, there may be some more updates and a few features introduced.
Maturity – The software has reached its peak sales or distribution. There is ongoing support for the software, but generally speaking, there aren’t any major updates or feature enhancements.
Decline – For a number of possible reasons, the sales and distribution of the software begins to go down. It could be because it’s no longer really needed, a better competing product came along, it’s not keeping up with the needs of the user, or other reasons. The point is, it’s not selling that well.
If you were to graph this process by number of sales or units distributed, it may look something like this:
You can see that the decline is not conducive to good business. At some point, the people publishing the software just don’t
A good publisher will make a very public EoL announcement detailing the End of Sale (EoS) date and the EoL date.What is End of Sale Date?
The short answer is the date that the publisher stops selling or distributing the software. It’s often also the date that the last update of any kind would be pushed out. It will no longer be listed for sale or download on the official channels of sale. You’ll no longer be able to get quotes on the cost either.
This doesn’t always mean that the software gets pulled off the shelves of retailers carrying it though. Although, boxed software is almost not a thing anymore. Still, be aware that when you’re buying a version of software that’s been out for a few years, you might be getting something that is already EoS or nearly EoL.What is End of Life?
When software or an app gets to the decline phase of the product life cycle, the end of life is near. It happens somewhere in that phase. Sometimes closer to the start of the decline and sometimes they hang on to the very end.
That’s a decision that is up to them based on their values. Usually it is preceded by an end of sale point, where you just can’t buy or get the software anymore.
EoL means any, or even all, of the following for that app, OS, or software:
Major feature releases may be supported for a fixed period of time after the EoL date..
Technical support, workarounds, and bug fixes will stop.
Support during the period between EoS and EoL may only be available to those with a paid support contract.
Online support documentation, wikis, or forums may be archived or taken offline on the EoL date or another specified date.
Requests for features will not be accepted.
Validation of software installs may not work.
Official training for the software may no longer be available.What Problems Could Software End of Life Cause Me?
You may look at the list above and think, “That’s not a big deal. The software still works and it’ll have all the updates it’ll ever need. Plus, I already know how to use it and there’s lots of other forums and blogs with information about it. Why would I bother getting the newest version?”
That’s a valid way to look at it. However, it’s an incomplete way to look at it.
Let’s take a look at some of the problems EoL software could give you.Security Issues
This is likely the most important reason. Just because your software or OS has been out for 15 years doesn’t mean all the holes have been patched. Most likely, all the holes haven’t even been found.
A blunt explanation of this comes from Scott Kinka, chief technology officer at Evolve IP at the time that he was quoted on chúng tôi in the article, “Is It Still Safe for Businesses to Use Windows XP?”
Kinka said, because Microsoft would no longer be sending updates for the old Windows XP, “Just assume someone is on your PC while you’re working. Every password, trade secret and bit of personal information is at risk.”
Consider that Windows XP is now 18 years old and is still on about 4% of computers worldwide, according to chúng tôi That doesn’t sound like much, but let’s assume there’s a billion desktop computers worldwide. Four percent of a billion is 40 million computers. Some in people’s homes, and some in businesses. That’s a big problem.
If that wasn’t bad enough, the holes that go unnoticed in EoL software can also be in the newer version.
Roger A. Grimes’ article, “Zero-days aren’t the problem — patches are” talks about how hackers look at patches to find the vulnerability that it’s meant to patch. Why? Because a lot of these patches don’t get applied, and they definitely don’t get applied to EoL software because no patches are available. So the patch becomes like a flare in the sky showing where the problem is, and how to exploit it.
Sure, that’s horrible for an old operating system, but does software present as big a problem? Yes, if that software interacts with the Internet in any way, it’s as big a hole. Most office suite programs can connect to the Internet or receive files from the Internet that could open holes. Don’t forget web browsers are software too!Regulatory or Legal Issues
Whether you’re running a business out of your home or just use software to do things like file taxes, you may run into regulatory or legal issues.
Let’s say that you’re using accounting software that has gone EoL. It’s no longer receiving the updates needed to stay current with tax and business laws. So the files and information it prepares may not meet current regulations. This could result in missed tax refund opportunities, rejected tax returns, or even audits and fines. You don’t need that.
Another example might be that you’re doing some medical transcription at home. If some piece of old software has left your computer open to hackers, you might be leaking very personal medical information and not know it. Yet, you’re still accountable for that.Incompatibility
Although usually a minor issue, it is highly frustrating when someone sends you a file that isn’t compatible with your software.
done in Excel 365 but all you’ve got is Excel 2010. The functions in the 365 version might not work on 2010 so you wouldn’t know what your bonus was going to be.
Worse yet would be sending your resume done in an old version of Word and having all the formatting fall apart because the employer is using Office 365. How horrible would that be?Decreased Reliability
All things degrade over time. Software is no exception. How it happens is a topic that would fill another article, but nonetheless it happens. Over time, you find that the application crashes more often and you lose your work.
Weird bugs creep up making it harder to do what you’re trying to do. Do you really need the frustration and time lost? Of course not.Outdated Skills
Using Microsoft Office as an example again, how are you going to keep your skills relevant if you’re still working on Office 2003 and most of the world has moved on to Office 365. Office 365 is about 16 years newer and has features and integration that you couldn’t have dreamt of back in 2003.
The more competent you are with the newest versions of software and operating systems, no matter what your line of work, the more competitive you’ll be in the job market. That means better jobs and better pay. If your line of work is technical, even more so.Cost
How will staying with EoL software cost you money? We’ve already seen that it could cost you job opportunities, waste your time, and even put you in legal hot water.
All of those things come back to money out of your pocket either literally or in opportunity cost. But there can be other costs associated with maintenance of your computer.
If you’re using EoL software, it could cause your newer operating system issues. Figuring out that it is the old software is beyond the skill set of the average person, so you might end up taking it to the nearest computer shop.
If you’re lucky, that shop will have experienced technicians who will know how to diagnose the problem quickly and recommend you upgrade the software.
Plus, they’re still going to recommend you upgrade the software. Save yourself some time and money and just update it as soon as you know about the EoL date.How Do I Know if My Software is Reaching End of Life?
If you’ve registered your software or signed up for updates, you may receive a few emails leading up to the EoL date.
If you know your software is older and start hearing about a new version coming out, you’ll want to go to the developer’s website and search out the EoL date for your version. Or you can get on a search engine and find it that way.
For your convenience, here are some of the EoL pages for a few major software producers:Microsoft – Search Product Life Cycle Adobe End of Life Matrix Google Apps End of Life Announcements Google Chrome OS Devices Google Pixel and Nexus Devices Apple Vintage and Obsolete Products
(Apple isn’t very forthcoming on EoL dates like other companies.)Yes, You Should Care About Software End of Life
To conclude, yes, you should care. You should care because you care about your time, money, privacy, peace of mind, and yourself in general.
Lily Katz / Android Authority
With the introduction of Qualcomm’s aptX Lossless technology, Bluetooth headphone customers will finally join their wired audiophile brethren with the option to listen to lossless quality audio. The promise, as always, is superior sound. But whether this is really a game-changer for your future listening habits depends on who you ask.
On the one hand, existing wireless products are some of the best-sounding headphones on the market, packing in powerful noise canceling, virtual assistants, and customization options you’ll seldom find in the wired space. Plus, there are solid-sounding Bluetooth codecs already on the market, including LDAC and aptX HD. However, audio purists will tell you there’s no substitute for the sound quality of lossless audio. It’s a debate that’s raged since the development of the MP3, but who should you believe, and is lossless Bluetooth audio really that important?
Bluetooth’s limitations regarding lossless audio
Robert Triggs / Android Authority
Why does Bluetooth use lossy, rather than lossless, compression to begin with? The problem is that Bluetooth’s data rate is too low for lossless Bluetooth audio.
Even though Bluetooth’s Enhanced Data Rate (EDR) can hit above 2Mbps, sustaining that rate for real-time data transfer is not feasible. In reality, 1Mbps, or often well below, is a more realistic and sustainable maximum transfer rate. That’s not enough for 1.4Mbps CD, let alone 4.6Mbps Hi-Res audio. This limited speed is due to radio and object interference, packet overhead and loss, and oftentimes, less than optimal antenna placements.
As a result, Bluetooth audio codecs have historically targeted lower, more sustainable bit rates using lossy compression. Another way to think of this is prioritizing playback that’s free from skips and dropouts at the expense of some audio fidelity.
Bluetooth audio is historically a trade-off between sound and connection quality.
Compounding the problem is the fact that the original low-bit-rate SBC codec was designed for voice compression rather than high-fidelity music. Despite subsequent revisions, third parties have stepped in to fill the void with codecs specifically designed to transmit music over Bluetooth. But AAC, aptX, and the LC3 still target lower, sustainable bit rates around 300kbps and below. Qualcomm’s aptX HD pushes the envelope with high-end sound, but it’s still capped at 576kbps.
Sony’s LDAC was the first codec to attempt to tackle the quality and scalability problem head-on with its 330, 660, and 990kbps quality options. The codec also claims Hi-Res support and promises “same as CD quality” playback (note, not bit-perfect playback). After testing, we found the 990kbps mode is indeed virtually transparent for CD-quality audio. However, there are still some small elements of lossy encoding, and more importantly, some devices struggle to offer a glitch-free playback experience at this bit rate. LDAC can achieve near-lossless CD playback, but you’ll often find quality called back to 660kbps, although we’d argue that’s still good enough for all but the pickiest listeners.
LDAC can already achieve near-lossless CD playback, but sustained connectivity can be a problem.
aptX Adaptive is Qualcomm’s alternative approach to solving the connection dropout problem. This codec dynamically scales its bit rate based on the radio environment, reducing quality in congested areas to avoid glitches. Before aptX Lossless, aptX Adaptive still targeted a more conservative 420kbps but will now scale up to greater than 1Mbps for lossless CD-quality audio. Qualcomm’s aptX Lossless is the first codec to claim fully lossless Bluetooth audio, bit-exact playback of CD-quality files, and it also appears to have the hardware setup to sustain this high data rate. For now, lossless Hi-Res (24-bit, 96kHz) tracks remain out of reach for all Bluetooth codecs currently on the market.
Quick reference bit rates:
SBC — 200 to 328kbps
AAC — 128 to 256kbps
LC3 — 160 to 345kbps
LDAC — 300kbps, 660kbps, 990kbps
LHDC-V — 1.2Mbps
Samsung Seamless Codec — 88 to 512kbps
aptX — 352kbps
aptX HD — 576kbps
aptX Adaptive — 279 to 420kbps
aptX Lossless is a hardware and software solution to Bluetooth’s bit rate problem.
In addition, aptX Lossless falls under the aptX Adaptive tool suite, meaning devices will benefit from Qualcomm’s other codec features too. For example, audio bit rate scales from lossless right down to 140kbps without interruption if you wander into an area with high radio interference, so there are no glitches or dropouts. aptX Adaptive also supports 24-bit 96kHz playback, albeit with lossy compression, and a dynamic low latency mode for gamers and voice calls.
There are a few caveats, though. For starters, existing aptX Adaptive products won’t automatically receive Lossless support — at least not without a firmware update. You’ll also need Snapdragon Sound-certified devices on both the transceiver and receiver end to benefit from lossless audio. So it will take a while for devices to permeate the market with a sizable portfolio. Unfortunately, not all Snapdragon Sound devices will necessarily support aptX Lossless, so knowing exactly what you’re getting might not be as crystal clear as it should be.
Customers with a lossless music collection stand to benefit from CD-quality Bluetooth audio.
With lossless CD quality, radio-aware scaling, low latency gaming and voice, and Hi-Res support, aptX Lossless is the industry’s most robust Bluetooth audio option. However, there’s still likely to be some debate about whether Qualcomm’s standard offers a perceivable improvement to audio quality and which Bluetooth audio codec is the best pick for consumers with a Hi-Res library. Plus, whether the proprietary nature of Qualcomm’s technology will limit consumer adoption versus more universal support for SBC and the upcoming LC3 codec.
Ultimately, the best Bluetooth codec is the one supported by both your headphones and smartphone or music player. aptX Lossless has some rather steep requirements on the hardware side compared to existing standards. Some headphone companies are investing in this now, like Nura with the True Pro Wireless earbuds. What do you think?
Yes, aptX Lossless can send lossless Bluetooth audio, but this requires a Snapdragon Sound device like the ASUS Zenfone 9 and compatible earbuds.
To receive lossless audio over Bluetooth, you’ll need a Bluetooth 5.3 device with a modern Snapdragon processor and earbuds with the Snapdragon S3 or S5 chips.
Here’s another piece of evidence to help complete the Apple mobile payments puzzle: according to a new report by 9to5Mac, Apple and Disney stores in the United States have been upgrading in-store iBeacon transmitters and NFC sensors ahead of the company’s big reveal on Tuesday.
The upgraded sensors, which include the new Gimbal Series 20 Proximity Beacons, will allow the companies to track customers inside their stores with an even greater degree of precision.
As it’s been widely reported, both the iPhone 6 and iWatch are rumored to be outfitted with a Near-Field Communication (NFC) chip to support mobile payments. It’s “one of the hallmark features” of the iPhone 6, according to Wired. The Apple wearable device has “a role in mobile payments,” too, as per The Wall Street Journal.
According to sources, all Disney Stores are getting brand new NFC-enabled credit card hardware. Disney is a close Apple partner: its CEO Bob Iger sits on the Apple board and the Mickey Mouse house was the first major content owner to have agreed to selling movies digitally through iTunes.
The author of the 9to5 report, Mark Gurman, speculates that Apple Stores could tap the upgraded iBeacons for NFC mobile payment technologies as a form of authentication.
“If Apple knows where a customer is in the store to a precise degree, it can ensure that is it wirelessly connecting to the correct iPhone for mobile payments,” he wrote, adding Tim Cook & Co. are readying “an in-house designed and developed” iBeacon sensor for future installation in its own stores.
Conveniently enough, Apple in early-May starting ditching the fourth-generation iPod touch for the iPhone 5s for its in-store EasyPay devices. The accessory now features improved navigation, 2D bar code scanning, an integrated keypad to allow input of pin numbers for debit payment processing and more.
The fact that EasyPay is now iPhone 5s-based lends credence to speculation that Touch ID may be used as an authentication method for Apple’s mobile payment system.
The aforementioned Gimbal Series 20 Proximity Beacons are designed and manufactured by chip maker Qualcomm. That being said, it’s plausible that Apple’s own iBeacons — allegedly branded as ‘Apple iBeacon’ — include proprietary features to support its payment platform in a secure manner.
Apple-designed iBeacon was revealed in July FCC filing.
Apple-designed iBeacon was revealed in July FCC filing.
The Apple iBeacon looks like a white puck three quarters of inch thick and four inches across in size. The FCC filing (embedded as a Scribd document below) shows a re-chargeable internal battery, a Micro-USB port and a dedicated ON/OFF switch at the bottom. The accessory appears to work on a 2.4GHz wireless frequency.
Apple’s long-rumored mobile payment initiative is believed to be shaping up nicely as major credit card companies have reportedly backed the initiative, including MasterCard, AmEx and Visa (no word on Discover yet), as well as leading banks like JP Morgan Chase, Citigroup, Capital One and Bank of America.
A user’s credit cards and payment information is though to be stored inside a secure enclave on an NXP-made NFC chip. An upgraded Passbook application should play a role in mobile payments as well, but the specifics are vague at this point.
At any rate, the iPhone 6 and the iWatch as an accessory device could form the perfect two-factor authentication solution for mobile payments. Imagine, if you will, paying for groceries with a simple tap or just by using a voice command without even taking the phone out of your pocket or entering a password.
Our non-scientific poll found that more than three out of each four respondents would happily pay for goods with their iPhone 6.
Note we ran the poll just as the iCloud nude pics scandal was about to blow up and get invariably linked to rumors about a “secure” Apple mobile payment system.
Apple CEO Steve Jobs used the D8 Conference on Tuesday to air his views on a variety of issues, including Adobe Flash, Google, AT&T, and the next-gen iPhone controversy. In a Q&A with audience members and an interview with the Wall Street Journal
On Google and Apple
A lot has been made in recent months about the ‘frenemy’ status between Google and Apple. This was apparent during Google’s recent I/O developer conference, where the search giant made a few jokes at Apple’s expense when comparing the closed platform approach of the iPhone OS versus Google’s open approach with the Android OS.
Jobs told Mossberg and Swisher that he doesn’t see Apple as engaged in a platform war with competitors like Google. When asked about Apple’s ongoing competition with Google, Jobs said, “just because we’re competing with somebody doesn’t mean we have to be rude.” Which may have been a response to Google’s recent jabs during Google I/O.
Jobs on Google :
During the audience Q&A with Jobs at D8, the Apple chief was asked about television and whether TV needed a new interface “to make television truly interactive.”
Jobs also said the TV market was very balkanized and was absent any standards, like GSM for cell phones, that make it possible to create one product that can be distributed around the world.
Jobs on TV
Jobs and AT&T
Another issue that came up during the audience Q&A was the iPhone and AT&T. An audience member from Houston said that while he didn’t have problems with data speeds on AT&T’s network, he complained of AT&T’s call quality and reliability.
Jobs on AT&T :
Gizmodo and Extortion
Jobs was unapologetic about Apple’s decision to pursue legal action against gadget blog Gizmodo over the leaked iPhone scandal
However, Jobs also showed his lighter side in regard to the iPhone controversy by saying, “This is a story that’s amazing, it’s got theft, it’s got buying stolen property, it’s got extortion, I’m sure there’s sex in there somewhere…somebody should make a movie outta this.”
What’s interesting about Jobs’ statements is that he indirectly accused Gizmodo of extortion. Earlier this year, Gizmodo purchased a test unit of the next-generation iPhone from someone who claimed to have found the device in a bar in Redwood City, California. The gadget blog then wrote several detailed posts about the device, and its components. The iPhone leak has resulted in an ongoing criminal investigation, but it’s not clear if the target of that investigation is Gizmodo or the person who sold the device to the gadget blog.
I imagine Jobs’ extortion charge is referring to measures Gizmodo took to force Apple to issue a written request asking Gizmodo for its prototype back. It will be interesting to see if Jobs’ claim becomes part of any formal charges against Gizmodo.
Jobs on next-gen iPhone
Jobs expounded further on why Apple decided to exclude Adobe products from Apple’s iPhone OS devices such as the iPhone and iPad. Apple has said it will not allow Flash to run on its iPhone OS products and forbids developers from creating iPhone applications using Adobe’s cross-platform development tools. “Different pieces of technology kind of go in cycles,” Jobs said. “Flash looks like a technology that had its day, but is waning, and HTML 5 looks like the technology that’s really on the ascendancy right now.”
Connect with Ian on Twitter (@ianpaul).
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